groove yard september 1999 archived September 23, 1999 - these are the words that I manifest


The Absolute Best
Blackalicious: A2G EP (3-2-1)

Despite their long hiatus, Blackalicious sound as primed as ever to blow the f--- up. "A2G" and its remix flip, "Alphabet Aerobics" might be their most dramatic work to date as Gift of Gab pulverizes his way with flair and finesse through the alphabet. On the original, "A2G", Chief Xcel raises the holy spirit on a piano-laced track grafted from an old gospel record, complete with funky guitar licks and bad ass drum pounds while Gab takes you from A-F and leaves G up to Xcel to form through a collage of snippets dediced to honoring "the gift of gab." "Alphabet Aerobics" flip the script entirely, enlisting Cut Chemist to drum up a remix of monster proportions. Starting a mellow 86BPM, Gab starts to rhyme each letter with four bars, but as each bar goes by, the beat increases. As he runs through towards Z, the song just keeps getting faster and faster, finally climaxing at a drum n' bass speed rattle at the very end, leaving Gab - and you - breathless. The concept's been done before but it's hard to imagine too many MCs having the ingenuity to outdo Blackaclious on this one. Obviously, not a pair of kids to f*ck with in a game of Scrabble. As for the rest of the disk, "Clockwork" is some hot sh*t as well...hard funk guitar lines drive the track while Chief Xcel flips up some bouncy dance sh*t on "Rock the Spot"...it's actually pretty fun to my surprise. Lateef drops in on "Back to the Essence", a more slow-tempo threat that is quite as catchy as the rest of the disk but ain't fluff filler either. "Deception" is the only song that didn't quite work for me - like the narrative concept, but it lacked uumph. "Making Progress" keeps it simple with beat and set of progressive rhymes. By the way, for REAL fans, look for the Mo Wax version of "A2G", complete with double-vinyl and additional artwork.


Common & Mark the 45 King: Car Horn (Groove Attack)

A simple but tasteful collaboration between Common and Mark the 45 King. Mark's track bumps along with a understated (but thoroughly effective) bassline bounce and occassional horn blare while Common cruises on through with some chill Southside steez, proclaiming his mic supremacy but never being too big-headed about it. It's the kind of laid-back Common Sense sh*t you've always liked - easy-going beats and effortless rhymes. Too bad this wasn't on the "Superrappin" compilation even though the cover looks the same as the other comp 12"s.


El Da Sensei: Frontline/All Rise (Guesswhyld)

El's first 12" since leaving the Artifacts, some have probably already heard "Frontline" off of the "Superrappin'" compilation from Groove Attack. It's s'okay - powerhouse line-up of folks including Shabaam Sadeeq andPharoah Monch, but I actually thought the beat was bland. I much preferred the swingin' "All Rise" with its catchy hooks and mellow blend of keys and guitar rhythms. El has certainly been ambitious now that he's on the solo tip...he's on no less than three compilations, plus his own single. Artifacts might be over but it looks like El is just getting started.


Gangstarr: Full Clip/Dwyck (Noo Trybe)

You definitely know their steez - what else can be said? Another beauty of a single from Gangstarr. Kicking off with a short shout to the late Big L, Primo drops in another one of this reconstructed masterpieces, complete with scratched phrases from some of the recent 12"s they've put out. As good as anything else you've heard from them lately, and one of the stronger Primo productions among many other mixes (though his ballistic beat for Bumpy Knuckles' "Part of My Life" is still the current champion). On the flipside is "Dwyck" for the 1% of the underground crowd that still doesn't have this on wax (they've only released it three separate times in the past you know).


Genius: Publicity (MCA)Genius: Breaker, Breaker (MCA)

"Publicity" is vintage Gza, vintage Rza. It may not have the panache that "Labels" did, insofar as "Publicity" is supposed to generate hype for the upcoming Gza LP, but does the Wu really need to generate anything? Sh*t, most fools just see the logo and start to drool and as it is, Genius comes pretty damn fresh regardless. What's interesting is "Breaker, Breaker", the first commercial single - it clearly does NOT sound like a Rza production. In fact, it's rather pop in its feel yet with Gza over it, the beat changes character slightly. Bottomline, it could blow up some club spots (let's not overstate it though) with its catchy feel and hook. Not exaclty another Wu-banger, but I doubt too many are going to be mad at Genius for cutting this song.


JA Rule: Holla, Holla/It's Murda (Def Jam)

Lord forgive me, but I'm really FEELING this single. Sure, JA Rule seems like a knock-off from DMX (albeit, with less barking) but his small frame turns out an amazingly baritone growl that works to perfection on the hook, "holla, holla!" A new thug anthem for the summer of '99 no doubt. Flipside is kind of hot too...dope bassline and guitar beat with strong rhymes by the Jigga and JA Rule.


Mood Swingaz: Final Friction (Raw Shack)

What's most interesting about this single is not that it samples the same distinctive loop that both Pace Won and Lootpack have jacked (though, you gotta admit, it's kind of freaky that everyone jumped on the bandwagon at the same moment). It's that "Final Friction" is on 45. Part of a small, but I suspect growing wave of labels who are going to put more stuff out on 45, Raw Shack released "Final Friction" on a limited supply, 7" basis. Personally, most DJs will probably prefer 12" (easier to backcue and all that), but I have to admit there's something very charming about the 45. Oh yeah, and the song is pretty tight...they flip that jazz sample a little differently than how Pace Won and Lootpack did it and if you liked the Mood Swingaz last 12", you're sure to like its dimunitive brother.


Mood Swingaz: Mood Swingaz Anthem/Musslin' (Karmis)

Continuing a track record that has yet to fade, the Mood Swingaz new 12" is an impressive blend of old and new school aesthetics. Their A-side "Anthem" kicks the same beatbox routine that De La and Biz used on "Stone Age", made only more interesting about the off-key moaning and screeching laced in the background that's grifted from Sly Stone. The confluence seems odd at first, but as the song plays, you realize how dope it is. In contrast, the B-side, "Musslin'" strikes you within two bars...the familiar thumping bump of the "Get Out Of My Life, Woman" drum track lumbers in while a slick, funky guitar loop slips in...simple as hell, but so damn gooood. Strong lyrical showcases by the Swingaz on both sides completes the package. Very dope 12", one of the best A/B sides I've heard in a while.


Mos Def: Next Universe b/w Company Flow: Patriotism & Diamond: When It Pours It Rains (Rawkus)

Single #4 from the Soundbombing series, this one has a powerhouse A/B side combo with Mos Def and Company Flow plus Diamond thrown in for good measure. Def's "Next Universe" (the "Universal Magnetic B-Boy" remix) rips lyrically, but as with Hi Tek's work on Reflection Eternal's song from Soundbombing (see below), I wasn't immediately won over...maybe he needs some tighter snares or something, but the track sort of lacked a strong anchor though it's atmospheric symphonics had a nice, open feel to them. But compare that with "Patriotism", one of the best Co Flow songs in recent memroy...El-P's echoing, dub-like screeches are more chaotic then Kosovo and his anti-jingoistic anthem rocks with thoughtful fury. One of the best songs from Soundbombing. Bonus: the short song from Diamond, "When It Pours It Rains" which features John Doe sparking it off over a simple track of keys and horns. Diamond's rhymes only continue to improve, flowing with an efficiency that eludes Doe's more thuggish rhyme scheme.


QNC: Repertoire/Come Correct (Gee St.)

An uptempo single which deftly rides the border between the underground and commercial sides of hip-hop, "Repetoire" is Q Ball and Curt Cazal's first taste of major label visibility since Cazal was down with Strong Island's JVC Force back in the day. Flexing a Jay Z hook on the chorus, "Repertoire" bounces nicely with blaring horns and Cazal's crunchy, signature snares while Q and Curt juggle rhymes back and forth. The flip is more sublte in its qualities, but the dramatic, slow-moving track works well with QNC, plus the cameo by Heltah Skeltah's Rock. Look for QNC to make big trax in '99.


Reflection Eternal: On Mission b/w Shabaam Sahdeeq & The Cocoa Brovas: Every Rhyme I Write (Rawkus)

Surprisingly, I wasn't really feeling the Reflection Eternal song, though the more I listen to it, the more it grows on me. Rhymes by Kweli are on-point, but I wasn't enamored with Hi Tek's track for whatever reason. It's actually pretty well constructed, but just doesn't resonate with me. On the other hand, "Every Rhyme I Write" is some hot sh*t, thanks again to Nick Wiz who kills it with his contrasting piano stabs on the beat. Ill and then some, making Sahdeeq and the Brovas that much better on the rhyme tip.


Rob O: Wunderlust (white)

My favorite Rob O white label out there right now (and there's a lot of competition). Ultra, ultra smooth and jazzy (courtesy Pete Rock of course) and nice lyrics by Rob O. A very sublime little single that's hard to dislike...I'd recommend folks look for this one online (Sandbox or Hip-Hop Site) and get with it before it gets gone.


Tash: Pimpin Ain't Easy (Loud)

Another banging anthem from the Alkaholiks (albeit this is an independent Tash joint). Just when you thought you heard George McCrae's "Get Lifted" one too many times, the sample gets new life in the hyped, bouncy loop for "Pimpin' Ain't Easy". Look for this to blow the club floors up. Rhymes are on that "I'm the mack" tip...nothing too original, but Tash has flair, I'll give him that much.


The Quality Rest


Alkaholiks & Xzibit: Prime Time (Franchise)

This is the single that's on the new Funkmaster Flex Vol III mix-album. A dope song with Xzibit and the Alkies, one of the better ones from Flex's album. B-side has the Ice Cube/Mack 10 freestyle plus another that evades my memory at the moment, but it wasn't that hype.


Apani B-Fly Emcee: Estragen/Woman In Me/Soul Control (Q-Boro)

Despite the all-star line up of female MCs, including What What from Natural Resource, Heroine from Juggaknots and Ayana Soyini formerly from Natural E, "Estragen" never quite kick s off as nicely as I might have wanted it to. Spinna's beat is cool, but didn't make enough of an imact to complement the serious lyrical tag-teaming that's going on. "Woman In Me" is pretty nice though, smooth and mellow with a vibe track that Apani fl ows over. Last but not least is "Soul Control", which is a helluva lot darker and Apani demonstrates considerable flexibility in switching up styles to meet the new challenge. It's too bad that her best song of late, "Narcotic" isn't on this 12". Look for that joint on "Tags of the Tape V. 2" on Japan's Mary Joy Records.


Attica Blues: 3Ree (A Means To Be) (FFRR/Mo Wax)

Worth noting because it has a re-release of their highly sought after "Tender" remix feat. Organized Konfusion. Besides that, the blue vinyl is a nice touch and oh yeah, did I forget to mentio n that Showbiz does the main mix of "3Ree"? I'm still not a big fan of Attica Blues' torch singing (though they don't annoy me anywhere as much as Portishead does).


Baka Boys Present: Friday Nite Flavas (Cali Kings)

If you didn't pick up the "Cali Kings" 12" yet (and shame on you for not getting it earlier), the Baka Boys' "Friday Nite Flavas" gives you a second chance, PLUS a fresh little freestyle duet b/t the Cocoa Brovaz and Snoopy Dogg. Added bonus: an Ozomatli remix ("What It Is") feat. Chali 2na from Jurassic 5. Not essential, but still pretty damn good.


Below Zero EP (Double LP)

A fairly impressive hip hop EP out of Europe (Sweden?). Beats are banging from the get go with "Collaboration Overseas" (feat. EbF from Various Blends). "21st Century Style Poetry" has some hot cuts and hooks over a hardcore track. Flip the disk and more pleasure awaits, with "Soldiers From the Start's" rough n' rugged tracks complementing the "Double LP" theme song, smooth and lovely. Vocally, the material is decent, but the flow's lack sophistication (due to En glish being a second language? I don't know). In other words, the songs are more impressive sonically than lyrically, but I'd be willing to bet that a lot of underground heads would be feeling this EP.


Big Meal: Put It On 'Em (Hydra)

Big Meal sinks his teeth HEAVY into Nice N' Smooth's rhyme scheme (which isn't really all that worth biting to start with) BUT, I forgave him on "Put It On 'Em" b/c Vic's carnival-esque beat (which is rather li ke Nice N' Smooth's sh*t too) makes up the difference. Worth a spin. No such luck with the B-side, "Pimps, Players, Macks". A song as mundane as its name.


Buckwild EP (Fat Beats)

The good news is his collab with OC (always a good combination) on "Burn Me Slow". Buckwild does dip into the same Patrice Rushen sample that Royal Flush had on his last LP, but I was willing to forgive the duplicatio n...the song just sounds so damn good and OC represents lovely as usual. Unfortunately, the bad news is that the other three songs on this EP are blase blah. Resevior Dogs and Kurrup Money both turn in the typical gun-clap/big willie bullsh*t on "No Tru st" and "Move Your Feet" respecitvely. Big Pun tries to clean it all up on the remix for "Dream Shatter", but it ain't that dreamy.


Deadly Snakes: Culebras De Muerte/Wild West (Tommy Boy Black)

Slightly above average (which says a lot for Tommy Boy Black given their lackluster roster) New York-stylized hip-hop. The beats for "Culebras De Muerte" and "Wild West" are hot, but the lyrics are straight pulled from any number of Tri-State MC styles...nothing new there at all. (Partial credit for decent flow though). "Wild West" has the better MC effort, but lines like this: "f*ck up your head with different topics/to let you know/where I'm coming from/and the outcome with be something catastrophic", it's not quite coming together that cleverly. Worth a mix show spin maybe.


Del the Funky Homosapien: Help Me Out b/w Ed OG: I Feel You (Industy)

Off of the practically invisible *Beats and Lyrics 2* compilation, this 12" features two mixes of Del's "Help Me Out" plus the Ed OG B-side "I Feel You." The Del remix act ually sounds a lot like something the Hieros would have cooked up anyway...I sort of prefer DJ EQ's original funk chaos beats though neither one really made a large impression on me. Ed OG, who is showing up everywhere lately, has a very strong cut with "I Feel You"...smooth, jazzy and with that signature Ed OG flow. B-side wins again. This one isn't essential, but you could do a lot worse - check it out.


Demastas: Ain't No Sunshine/V.I. to N.Y. (London)

I reviewed the A-side the last time around, but the commercial copy has a nice little b-side in "V.I. to N.Y." That's Virgin Islands for the uninitiated, the country that Demastas come from a nd this sound represents ever (not) so subtlely thorugh the steel drum sample that dances its way into the chorus. Simple, but I'm feeling it.


Eargasms: Crucial Poetics Vol 1 (Ozone)

Strong five-song EP of spoken word mixed with hip hop. Rha Goddess' "My Pen" remix is just a tad too smooth in feel (i.e. a little too much R&B mixed in), but Saul Williams wipes the slate clean severa l times over with "Twice the First Time", one of his many explosive and amazing poems. Bobbito (word?) shows up for "The Cucumber" but I never could getting into his rattle and prattle. The joint though is "Bladerunners" featuring Mike Ladd and Co-Flow. ..this song is also on the Mary Joy's upcoming "Tales of the Tape: Vol 2" LP and it's a pretty stunning song for Co Flow fans - all that custom made, off-the-wall metaphorics that you've grown to love, laid over some post-industrial beats. Mos Def cleans it up with "Soldier's Dream", but he's talking, not rhyming.


Funkmaster Flex: Thug Brothers/Put Your Hammer Down (Loud)

Much as I bag on Funkmaster Flex, the man hires some good ass talent. This latest Loud promo from the LP has some of the best material off the mix-album, including the cameo song tha t we KNEW had to happen: Nore and Big Pun (who've appeared on everyone else's albums). Another Jesse West winner for "Thug Brothers" - rockin' sinister like KISS in their make-up days. It's one of the few Nore songs I can stomach. Mos Def's freestyle p eeps up here too, but really, get to the B-side for Wu Tang's superior "Put Your Hammer Down", one of the best custom songs off Flex's Vol 3. Rza just comes with this funky fly beat that is one of the best loops he's dug up yet. Wu Tang at its dopest, j ust like you knew they could do, right boo?


KRS One: Knowledge Reigns Supreme/French Connection/I Will Make It/Comb Away (white)

These are actually on two different white labels, but I suspect that all four songs are off of the upcoming album (quality's too good to be throwaway demo tr acks). "Knowledge Reigns Supreme" is the hype sh*t, borrowing a beat recently heard on the "Dusty Finger Vol 4" compilation and KRS just flips it lovely over the meaning of his name. "French Connection" takes it back to some ol' Al Green sh*t (the loop I mean) and this one sounds more demo-esque (bad sound processing). Nonetheless, Kris takes his verbal shots at the devil with his typical intellectual ammo and some might feel it. I don't care what other MFs think - KRS is simply the most consistent MC this world has ever seen. Disagree? Offer me another MC who's aged as well (and you better not say Rakim) over the last decade. Anyways, the other 12" follows the same pattern - "I Will Make It" is straight braggadocio bombastics while "Comb Away" is on some knowledge-sh*t, talking about black hair politics over what sounds like a classic Kenny Parker beat. The sound quality on t his 12" isn't as good as the other by the way.


LL Cool J: Rasta Imposter (white)

LL over the "7 Minutes of Funk" beat ripping on Canibus and Wyclef. You know it's bad (not bad meaning bad, but bad meaning good).


Louis Logic: Planet Rock/Punchline/Logistics 101 (Superregular)

Eh...I wasn't that jazzed on this 12"...partly it's b/c the lyrics never really had me going - too stilted in flow (but the content is strictly sophisticato). If I had to pick a cut to pump, I'd easily go with "Punchline", mostly due to the sweet strings it flips on the beat and "punchy" hook. Otherwise, both "Logistics 101" and "Planet Rock" feel underproduced and unimpressive lyrically.


Method Man: Break Ups 2 Make Ups/Suspect Chin Music (Def Jam)

Sure to be commercial radio pleaser, "Breaks Ups" deserves whatever success it earns...a very smooth duo b/t Mr. Meth and D'Angelo. "Suspect Chin Music" is definitely on some biza are RZA tip...maybe a little PLO style for some out there, you decide.


Mexakinz: Realism/The Wake-Up Show/Instinct (Wild West)

I've never really felt the Mexakinz as MCs...too much yelling, not enough focus on tighter rhyme schemes and no cleverness in content. Skip "Realism" and stop at "The Wake-Up Show" if y ou like Xzibit and Chino XL...they cameo and the Mexaminz actually hold their own, especially flipping some Spanish up in the mix. Beat-wise, it's ok...flipping the same sample as LONS used waaaaay back in the day for "Saab Story". I only really liked " Instict" for its beats...some of that old low rider soul sh*t (it's been sampled CRAZY times before, but I can't remember which original song it is). Lyrics are decent, but again, they won't blow you out the frame.


Mixmaster Mike: Surprize Packidge (Asphodel)

Great for fans of either Mixmaster Mike, Automator, or just crazy, chaotic sonic play in general. Everyone else may not get it, but that's not Mike's problem, dig?


Mr. Live w/ Tony Bones: The Bus' Off EP (Get These)

While I didn't like this quite as much as their last pairing together, it's still a fairly fresh EP, especially their notorious "Splashin' Over Monica" which is clean in language, but not in content. Talk about integrating your politics with your art... Unforutnately, the two main songs, "All Day" and "Throw Ya Mitts" actually have the weaker production on the EP...neither is particularly memorable, save "Throw Ya Mitts" at the end when it drops from 110 BPM down the 90s. Mr. Live's short "Brooklyn" is a great anthem, but way too short at only one minute. Still, a good EP all in all.


Naughty by Nature: Dirt All By My Lonely (Arista)

Frankly, I'm surprised Treach and company are still around (not b/c they're wack, but it's been a long time since "OPP" you know?). Treach is still his fierce self, this time bringing the ver bal barrage over a simple, self-produced beat drawn from the catalog of pianist Les McCann. It's not infectous, but it is effective. Only Treach is worth checking for on this 12" (as opposed to the other MC), but it's still good to know that NBN can com e with it after all these years.


Nonce: The Sight of Things EP (Wild West)

These brothers are literally back from the brink of obscurity...having disappeared off the face of hip-hop after their last LP, three (or was it four) years back. The EP won't quite bring them back f ull-force...this is no "Mixtapes", but for those who dug their laid-back beats and flow, "The Sight of Things" will give you something to smile over. They include their superior "Who Falls Apart?" as well as the slick "Articulate with Math". The hot sh* t is "Live and Direct" though...crispy drum work and scratches keep this joint on point like a compass.


Outkast: Da Art of Storytelling (Pt. 1) (LaFace)

While not as booty-shaking as "Rosa Parks", this one's a slick one...great Outkast sh*t plus Slick Rick to boot on the cameo tip. Hotter than Atlanta asphalt.


Psycho & Rap One b/w Iriscience & Babu: On Deadly Ground (Blackberry)

So this is interesting...the 12" has the same beat on both sides, but offers a different MC/DJ combo. Between the two, Iriscience and Babu win on both counts, though Psych o's braggadocio is nothing to sneeze at. The beat itself is a re-freaking of Biggie's "Kick In The Door" but it rocks well like Norman (which it better be if they expect two MCs to catch wreck over it). Iriscience really does rip it though, throwing pun chlines and clever bravado all over the place. Worth checking for.


Redman: Da Goodness/I Don't Kare (Def Jam)

Another bonafide set of club/mix pleasers. No remixes though.


Rob O: Don't You Love It? (white)

This would be another really great Rob O white label (what's up with that? He's pratically running a cottage industry in white label 12"s...or did some one steal all of Rob O's masters from the last four yea rs?) EXCEPT that Rob O suddenly does his beat Noreaga impression on the rhyme flow. I don't like Nore in the flesh, let alone a clone. Still, hard to front on that soulful beat. Your call.


Rob Swift: Dope On Plastic (Asphodel)

Damn, this is one heavy slab of vinyl...maybe that's why Rob Swift guarantees the disc as "non-skip and scratch-safe." In any case, this is the fabled Large Professor remix of "Dope on Plastic", though I wasn't really wowed over...the beat is fine, but nothing outstanding. Otherwise, the rest of the disk is likable enough for turntablism fans even though I think Swift's scratch-matics lag behind other needle thrashers.


Roots: You Got Me (MCA)

Smoooth song, not the best from the album, but likable in most ways I can think of. I just wish the music was a touch more lush, sort of like how "Hypnotic" was, but f--- it, Badu represents lovely and Black Thought d oes the same. Who is that female MC though? Badu? Sounds to me like the Queens' honey that LL Cool J got for "Doin' It". The flipside remix isn't that much of an improvement, though it kicks the song into higher tempo, giving it more club flexibility. Dumping Badu for some Carribean flavor is a risk...probably the wrong one, though the steel drum melody is a nice inclusion. Fairly commercial overall, knawImean?


RZA: B.O.B.B.Y./Holocaust (Gee St.)

You won't be hearing these at the club, but even so, RZA's Bobby Digital alter ego creates interesting moments. Both sides are more interesting for their beat complexity than overall song strength...it's d efinitely more of an acquired taste, but if you like it digital, this one's for you.


Sacred Hoop: She's a Sacred, Sacred, Sacred, Sacred Hoop EP (Miasmatic)

Another decent three song banger from the Bay Area's Sacred Hoop. "Smokebomb" is the best cut to peep, boasting a thick ass bassline and strong lyrics from the Hoop memb ers. Simply put together, but effective. "When I'm Broke" is a little more awkward on the beat tip which detracts from the lyrics...too much going on sound-wise and they should have minimalized rather than maximized. "Tear Gas" completes the trio, but while this "Smokebomb" remix tries to come heavy and hunky, it never really took off too me, dragged down by the awkward beat. Stick to the original.


Sir Menelik: Space Cadillac rx/Game Time/Terror Works (Rawkus)

Now that he's done (temporarily) with his Scaramanga alter-ego, it's time for Sir Menelik to jump back into his Space Cadillac and blast off into his abstracted cosmos. The intro to the remix is a little awkward, but Spinna comes fresh with some crispy ass drums and an off-the-wall track. "Game Time" felt lethargic, despite El-P's beats and Menelik's strong lyrics. "Terror Works" was kind of the same way...the beat's cool, but doesn't move you yet Menelik's mic presence has improved considerably. Mixed blessings on this single.


Slick Rick: Kill Niggaz (white)

A surprisingly good white label 12" from Slick Rick who translates his bitter prison experience into the impetus for a hard-edged and intimdating song about Slick Rick's ill state of mind following jail time. It's "Children's Story" for the adult crowd, with Slick Rick going out in a haze of


Arsonists: In Your Town/Pyromaniax (Matador)

I'll say this much about the Arsonists - they continually surprise me with their different styles. I had one impression of them when "The Session" dropped WAY back when...and then on their last major 12", contrasting cuts like "Blaze" with "Back in the Day" (or whatever that cut was called) showed two very different sides of the crew. Even on their new 12", "In Your Town", with its aggro chorus and slammin' piano and bells show off a hyped-up set of MCs spittin' verses with the quickness. The quirky side of the group is on the flip, with a cartoon-esque beat bumping in place as the Arsonists rain down with lyrics more humorous than harmful. So yo, where's that f---in album?


Beatnuts: Watch Out Now/Turn It Out (Relativity)

On a more whimsical tip, the Beatnuts new single, "Watch Out Now" (Relativity) finds the Puerto Rican duo of Juju and Psycho Les still up to their old tricks with an irrestible flute loop serving as the backdrop for a series of brain-dead lyrics. Their verbal content and delivery are in a state of chronic regression, but the 'Nuts are still some of the best beat-makers around, crazily tossing in a spoon-player's frenzied rhythm on the carnival-esque B-side, "Turn It Out" featuring Greg Nice. Really - their lyrical decline is painful to witness...before, at least they were just f*cking around, but now, their paper chase just seems embarassing.


Buckshot: Follow My Lead/Likkle Youth Man Dem remixes (Duck Down)

Found this one in the used record bin at Amoeba and didn't know what to expect. Apparently, Duck Down put out a limited edition white label pair of remixes for both "Follow My Lead" and "Likkle Youth Man Dem" - I have no idea what year this came out, though my guess is sometime last year. The "Follow My Lead" remix is mad cool - very chill pace as the BDI sets it off with new lyrics and a catchy hook. The flip remix for "Likkle" is a little more pop-oriented...decent, but lyrically, I wasn't really tripping off the BCC posse rhymes. Worth hunting for, but don't strain yourself.


Chris Lowe & Large Professor: CT to Queens/Never Heard It Like This (Bronx Science)

Large Professor is starting to follow Ed O.G. in his career mode, cameoing on everyone else's records except his own. Apart from Neek the Exotic (on an EP that I heard wasn't particularly good so I didn't bother to get it), the Extra P has decided to join forces with Chris Lowe on this Bronx Science package. Both sides are decent, but not outstanding...Extra P's verses still have his particular flair and great delivery and Chris Lowe puts on an acceptable braggadocio show too and the beats (both tuned by Large Pro) and likable, but far from Extra P's best works. This one might pop up on the underground radar screen for a hot minute, but it doesn't have the legs for longevity.


Constant Deviants: 8th Wonder/Hustler's Prayer (Brooklyn Pipeline)

Constant Deviants have never been lyrical powerhouses, forceful as the verses have been, but when you need an extra touch of finesse, you may not find it. Production on this 12" thus comes off a shade stronger that the lyrical half, especially on "Hustler's Prayer" which has an ever-so-pleasant piano loop running through it, but verbally, doesn't have much meat to hook onto. "8th Wonder" is the better joint on both levels...lyrics are improved and the beat is especially nice, a chopped-up mesh of basslines and key melodies that would make Primo proud ('cept the drums are weak). Content-wise, looks like CD is moving more towards the crowd at the Tunnel than in the underground but you know how it goes sometimes.


Craig G: Vibe Wichya/Lose 2 Win (Earshot)Ê

Craig G. surely has had one of hip-hop's more unglamarous comeback careers (let's put it this way..."The Symphony" was his highpoint and that was a decade ago). Still, ya gotta love him for persevering and his random solo ditties have been likable. Take "Vibe Wichya" for instance...a perfectly decent sex song with a tight, jazz-derived beat and well-delivered lyrics. And hell, "Lose 2 Win" ain't embarassing either, not with its laid-back vibes smoothing it out. No need to rush out for it, but worth checking for.


Diezzle Don: Thug Passion/Hustler (Marcion)

He'll probably never stop working that weed angle (this time around, each 12" comes complete with a tobacco blunt wrapper), but this 12" seems tigheter than his last several flat efforts. "Thug Passion" is the joint to check, strong, driving beat on the back and Don manages to kick some decent-sounding lyrics that aren't all about smoking ganja. It won't blow your mind, but it'd work in the mix.


DJ Spinna: Heavy Beats Vol 1 (Rawkus)

To be honest, if you really want to get into Spinna's heavy beats, I'd recommend Mary Joy's, "The Beyond Real Experience" LP instead. About 2/3rds of that album is Spinna and both the variety and quality of his beats are improved on that compilation. It's not that this Rawkus EP is flat, but it's balance gets awkward at times. In particular, the instrumental tracks just don't work well for me - Spinna has an ear for good beats, but he doesn't have Kenny Dope's penchant for instrumental tracks that stand alone. Or even El-P's control over raw sonics. The exception is the hellafied uptempo "Rock" which wore me out just from listening to its JBs-influenced rhythms. Of the tracks with MCs that were the strongest, I'm liking Apani B Fly Emcee and Talib Kweli on "Time Zone", but more for the vocals by each artist than the music itself. "Watch Dees" with Eminem and Thirston Howl III didn't hit me at all...Thirston sounds like a slower version Rza on the flow tip and the droning beat went nowhere fast. Surprisingly, the short Joc Max intro is hot, an uncharacteristic blaxploited loop throbs underneath as Max drop some heavy-handed rhymes ala Freddie Foxxx style. And rounding it out, "Who U Be" with Missin Linx was simple, but likable, especially with its contrasting feel between the lighter, happy synth chords and the slicker wah-wah bass. A second disk is included with instrumental versions included, plus two bonus Spinna tracks.


Dujeous: Breathtaking/Epic Proportions/Cinematics (Wax Poetic)

A likable but not outstanding single from a live band group that's worked with Rob Swift in the past. Dujeous has decent musical chops, just peep the nice drum roll and rim shots on "Cinematics" (my favorite track despite it only being one and a half minutes long). However, the music on "Breathtaking" and "Epic Proportions" don't have the uptempo groovability of Black Eyed Peas or the sublime subtleties of The Roots. Dujeous are competent musicians, but competency alone won't cut it. Lyrically, the group has a distinctive set of rhyme patterns, a blessed departure from all the other NY MCs busy trying to cop DMX and Jay Z's flows. "Cinematics" is the best sampler of their steez - clever and focused on actual lyricism rather than making a shopping list rhyme. A group worth remembering but more for future potential than current output.


Eminem: Any Man b/w Pharoahe Monch & Shabaam Sahdeeq: WWIII (Rawkus)

Eminem sounds a lot better rhyming on this Beatminerz funk-lite track than he does on most of his album. It's here that you can best appreciate Eminem's lyrical and creative skills rather than just another misanthropic pop hit. Flipside is far more dramatic with Pharoah Monch and Shabaam Sadeeq scrambling over Lee Stone's dense track. By the way, did you know Monch signed with Rawkus and is putting out an LP? How times change, but hopefully Rawkus will be a better home than Hollywood Basic and Priority. Decent disk...not outstanding, but consistently good.


Herbaliser: Where's the Missing Suitcase/Who's the Realest?/Mind in the Frame (Ninja Tune)

Decent two instrumental/one verbal 12" from Herbaliser. Nowhere as dope as their work with What What? from the last album,but Blade does respectably well on "Mind in the Frame." Personally, I liked "Where's the Missing Suitcase" with it's high energy franticness, but "Who's The Realest" might appeal to those looking for a more hardcore edge.


High and Mighty: B-Boy Document '99 b/w Reflection Eternal & Bahamadia: Chaos (Rawkus)

Surprisingly, I wasn't really jazzed on either song. I didn't think the High and Mighty should have f---ed with "B-Boy Document"...the original was pretty tight to be begin with and the remix substracts from that memory rather than adding to it. The beat is redesigned, but flatter in feel and even with cameos from Mos Def and others, I still felt like the song was more of an exercise in typical hip-hop underground collabos than anything uniquely rewarding. Likewise, the pairing of Talib Kweli with Bahamdia on the flipside had me anticpating something momentous, but the fairly bland beat drained energy from the project - given how mellow both Bahama and Talib are, they don't have the verve to uplight the song past its anemic state. I mean, the verses are great, rich with meaning and all that, but the song never takes off to let their verbals fly.


Hip Hop Wars (Ground Level)

Basically, this is a white label single put out by Sway and Tech in anticpation of their upcoming "This or That" album. It features "The Anthem" which is already their first single (off of Interscope). Also featured is "Ego Trip '99" with Kool Keith and the Motion Man, plus exclusive drops by Styles of Beyond and freestyles by Biggie and Sadat X. A good find for big fans of the Wake-Up Show, but non-essential otherwise.


Krondon: Black Gold/Miraculous (Lockdown)

It's not quite as john blaze as the predecessor from this Southern Cali group but after repeated listening, both sides grew on me. "Black Gold's" verbal component didn't really strike me though the loud piano loop held my attention. The flipside, with its spaghetti western guitar lines is the sleeper hit, especially given Krondon's distinctive and powerful delivery sparring around.


LA Symphony: Heartfelt Rhymes/San Diego/Intercomplete Thoughts (Eartube Empire)

Interesting, but not wholly consistent material out of San Diego. Beats are a'ight, but the rhymes tend to break down in spurts and patches. I know a lot of kids have been checking for this though and given how hard San Diego's been trying to make it, it might be worthwhile for underground heads to look out for, just to see what's new on the scene besides in NY, LA and the Bay.


Last Emperor: Bums/Monumental/Secret Wars (white)

Ok, so it took me a loooong time to get to a disk that most of you either already have or have heard about. Let's just skip over the niceties (i.e. "Bums" and "Monumental", which are both decent, but really, it's all about...) and get to "Secret Wars" since that's what most heads are buggin' out over. In the end, it's a clever and fun concept song, though I wouldn't try to do it again for fear of being redundant. Last Emperor creates a fantasy set of battles b/t comic book characters (Wolverine, Spiderman, Professor X, etc.) and hip-hop heroes (Redman, KRS, Lauryn, et al). Not only that, but he actually mimics the voices and delivery styles of his MCs, doing especially good renditions of Redman and Das Efx (though his Busta Rhymes imitation needs work). Worth checking out, just for the sheer gimmick of it but like I said, having killed the concept, I hope he doesn't resurrect it again.


Lauryn Hill: Ex-Factor remixes (Ruffhouse/UK)

Worth the cost of the import price if you're a real Lauryn fan, but otherwise, this may not be your taste. After all, "Ex-Factor" was pretty much a straight R&B joint in its original incarnation and the remixes don't alter that fundamentally. The "A Simple Mix" version speeds things up to about 100bpm...a nice mix insofar as its uptempo and soulful in contrast to the slow and mournful pace of the original. Very likable but no "Doo Wop" in the hype dept. The other remix, "Ex-Factor Part II" has more rhymes, is more downtempo and is more along the lines of something the Fugees might have done on a remix (but it's not a Fugees remix). S'okay, but a little too familiar if you know what I mean. Also included is the "Lost Ones" remix that was included on the commercial "Doo Wop" single. Surprisingly, what you won't find on here is the original version of "Ex-Factor".


LMNO: Grin and Bear It/Identification/Continue To (Concentrated/Battle Axe)

L catches some hell for his eccentric flow (though over-enuciation seems to be in now...just ask Defari) but his new 12" on Concentrated should quiet some of the complaints. A dark horse candidate in all respects, LMNO's three-song 12" features both strong production and accessible verses from the L-man. "Grin and Bear It" trots along with a simple piano loop and a strong braggadocio effort from LMNO. "Identification" slips a little...the digitally-reshaped key track is overshadowed too easily by the drum kit and while LMNO comes with some more punishment, it's not a particularly memorable song. However, the Beat Junkies' J-Rocc (who seems to be a sleeper producer) puts together another beaut of a beat with the loopy track on "Continue To", all trippin' organs and ringing bells. A pure pleasure to listen to.


Mary J Blige w/ Black Star: Beautiful remixes (white)

While non-essential (because it's a white label), this is an attractive collector's piece for any Black Star fans out there. I'm not sure anyone (myself included) would have forseen Mary J and Black Star working together and the fact that this hasn't been released (far as I know) commercially is suggestive of something...I'm just not sure what. Ok, enough background - the single is ok. Black Star's cameos are tight, but the track isn't that phenomenal and Mary J gets pushed into the background as a chrous singer but her main contributions take a back seat to Black Star. If the track was more interesting, I'd give this a higher eval, especially since the rest of the 12" has fairly flat remixes that do NOT feature Talib and Mos.


Naughty By Nature: Jamboree (Arista)

An obvious anthem attempt by the king-o'-anthems, "Jamboree" is fun, but it's no "Hip Hop Hooray" or "O.P.P." or even "Feel Me Flow". Give it the summer in the clubs and that's about the shelf-life. Likable, but not a future classic by any stretch by the imagination. Features Zhane on the hook.


Nobody w/ 2 Mex & E.S.P.: Afternoon Focus b/w Mumbes w/ Cut Chemist & Dark Leaf: Caution (Ubiquity)

Part of Ubiquity's new DJ series, this double A-side is provocative and should appeal to deep underground heads. Beats are strong on both sides, with Nobody flexing a nice funk-thump on "Afternoon Focus" while Mumbles gets a dark, murky piece of work complete with flute samples and a strong snare. Neither is going to get the party started, but they're not boring either. Lyrically, it's a mixed bag...all MCs concerned seem to be kicking off a cerebral freestyle and sometimes it works, sometimes it simply doesn't. Especially on Mumbles' song, his off-tempo rhyme scheme feels awkward at times, not the least of which is for his abstracted content that doesn't always make for instant sense. Worth checking but probably not everyone's cup 'o tea.


Porn Theatre Ushers: Me & Him/My Imagination/Cat Nip (Biscuithead)

Take a couple of kids with samplers, a rare groove collection and some dirty minds and you get the Porn Theatre Ushers. Thankfully, they're not trying to outdo Necro or Cage on the sick-sex tip, though let's just say that "Cat Nip" doesn't refer to felines. In any case, the production is interesting - some obscure sampling thrown up in there...though I actually found the intro beat on "Me and Him" more appealing than the song itself but whatever. Rhyme-wise, these cats aren't bad, but they're not melting the mic either (ambivalence is my middle name). Worth checking for, let's keep it at that.


Quannum MCs: Bombonyall (Quannum)

Kaboom, here comes Quannum full-force with all three MCs plus Shadow on the beat. Shadow funks it up with a bad-ass bassline and some sharp organ stabs - I wouldn't call the track inspired, but it's solid as a foundation for Lateef, Lyrics Born and Gift of Gab to rhyme over. This isn't the best song from the album (by a long shot) so I'm surprised they put it out, but it won't be a disappointment to any former Solesdies/Quannum fans. I'm not as excited about the song as I could be (listen to "A2G" instead for true bombastics), but it's not bad by any means.


Roots: Next Movement/Without a Doubt (MCA)

Damn...the Roots are platinum?! When's the last time a deserving artist went platinum (and please don't say Lauryn). Who knew Erykah Badu and a drum n' bass beat could get the crew so far. I'm wit that though. Anyways, the new single has no new changes from the album (i.e. no remixes) though who's gonna beef with a hot B-side track on that Schooly D tip with "Without a Doubt". Hot sh*t, makin' ya trounce.


Shape Shifters EP (Shape Shifters)

Another one for the deep underground folks (I know, a very vague category but there are some heads who listen to Circus and some heads who listen to Shabaam Sadeeq and the twain may never meet). As you might guess - not my cup of tea personally though...I just can't get into the abstracted (if not downright silly lyrics), lackadasical rhyme schemes and underproduced beats (even if Kut Masta Kurt handles two of 'em). The one cut I did like was "Triple Threat", more for Kurt's smoky track than th everses by Dierkt, Life and Akuma.


Street Connect: Soul For Real/Hood Niggaz (Marcion)

The whole disk is on some NY, keep-it-real tip, but if it's creatively limited, at least the execution is decent. Track to pick is "Hood Niggaz" with its simple, but effective track (nothing more than a nice snare loop and some subdued basslines) and lyrics that seem to run on for days. "Soul For Real" ain't bad either, but there's nothing on this 12" that you haven't heard dozens of other Gotham MCs kick before.


Superstar Quamallah: Don't Call Me John EP (ABB)

An interesting departure (well, if you can call it that) from ABB's normal retinue. Unlike Defari and Dilated, who carry the Left Coast underground banner in one way or another, Quammalah posts up as a New Yorkan, both visually (in terms of the subway cover photo) and verbally (with his Jay Z-influenced rhyme scheme). Two interesting tidbits...one is that Quammalah is the son of B-3 Hammond great Big John Patton (musical interest must run in the family). The other is that Quammalah works upstairs from my department of Ethnic Studies on the UC Berkeley campus, in the African American Studies department. Wholly unimportant information as far as the EP is concerned, but whatever. Anyways, it's a decent EP, the longest ABB has put out, though it's pretty unvaried NY routine by my account. The favorite joint is "Sugar Hell No", which goes off on pigeons and slacker friends (also featuring SOM's Tajai on a cameo). Lyrically, it's not that strong, but the track is infectous, with a sped-up vocal track lending flavor to the hook.


Ugly Duckling: Now Who's Laughing/We're Here (1500)

Some have tried to compare Ugly Duckling with Jurassic 5...which only works insofar that both have a certain old school feel to them. But whereas J5 takes that old school roots and branches into the next school, Ugly Duckling haven't quite graduated yet with their simplistic rhymes - best evinced on "Now Who's Laughing." It really is pretty sloppy rhyme work though "We're Here" seems far stronger on the lyrical tip. It also helps that it flexes the same thick bassline that Mic Geronimo used on "Masta IC". As usual, Young Einstein's beat-work is the best thing about the Duckling's single...great beats all around, especially on the trill, intro beat for "Now Who's Laughing"...ill as hell.


Vakill: Flows U Can't Imagine/Tiz Tha Seizen (Bronx Science)

Yet another Molemen production project, this new Vakill 12" is kinda hot - but only from a beat-head's point of view. Vakill is a'ight, but neither his similes nor rhyme scheme seem particularly extraordinary. Lord Finesse killed the whole steez a decade back and MCs trying to step up are bound to come up short. Thankfully, His Panic from the Molemen backs Vakill up with some bomb tracks, especially with a striking drum track for "Flows U Can't Imagine" and an even more intricate beat on the flip for "Tiz Tha Seizen". Mixed bag for certain, but you'll be nodding your head despite yourself.


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

Bedroom Wizard w/ Don Caban: Ain't No Half Steppin' '99 b/w Unspoken Heard: N*gga Like Me (Bronx Science)

An interesting, but ultimately uninspired combo. "Ain't No Half Steppin' 99" is further proof (as if we really needed any) that remakes of classics simply don't work in hip-hop. Especially if you're trying to step in the shoes of Big Daddy Kane, who, in his prime (i.e. when "Ain't No" originally came out) could have chewed up any MC on the block. Don Caban is no lightweight, but he's not ready to take on Count Mackula. Unspoken Heard's flipside is just a'ight, nothing too dazzling and certainly not as enjoyable as their last single, "Butter."


Big L, McGruff, Buckshot, et al.: NY Freestyle/Throw It Up (Union)

Might have been a hot collabo, but with a beat utterly pandering to the current flavor of the month on Hot 97 mixshows, neither side burns baby burns. You'll be lucky if it thaws out the dinner meat.


Cover: U Want Money/Hold It Down For Ya'll (Tommy Boy Black)

Another standard NY, Hot 97 knock-off on Tommy Boy Black. I don't mean to pick on the label, but after suffering through the Black Mask soundtrack, it's pretty clear that variety is NOT the spice of life for whoever is A&R-ing TB Black. The bulk of their acts are cookie cut from a particularly tri-state sound that is already oversaturating the market. Cover just being the latest.


Eminem: Guilty Conscience/I'm Shady (Aftermath)

The word that seems to fit best on this song is "cute". Halfway clever concept with Dre and Eminem going back and forth and the added hook (which wasn't on the LP version) keeps the song consistent. On the flipside, I also think it emphasizes everything wrong about Eminem's entry into the pop world...it's the type of song that alt-rock stations will love, an "oh-so-neat" concept single which is really pretty brainless if you think about it. "I'm Shady" is a tad rougher, better lyrics certainly but the hook spells out its pop pretensions pretty clearly. This is beyond crossover - it's just straight commercial fluff cloaked with a hardcore touch.


Natural Elements: 2 Tons/Live It Up (Tommy Boy Black)

S'okay...it's good to see that Charlamagne is working with these guys again (maybe the rumors that they splilt off from one another weren't actually true). However, I wasn't bowled over by anything on there. Natural E, to me at least, has been headed back towards a more commercial sound, which is not to say pop, just more Hot 97-ish though they're far from the most blatantly crossover nuevo-thuggers. But yeah, I miss their old stuff.


OGC: Shoot to Kill/Girlz Ninety Now (Duckdown)

Same 'ol, same 'ol.


Royce the 5 9: I'm the King/Take His Life (Game)

Not feeling him (or the single). Pretty sparse review, I know, but the beats were bland (your basic ruff-riding commercial banality) and Royce just isn't my cup o' tea.


Sway & King Tech: The Anthem/Underground Tactics (Interscope)

Big posse cut, but not the most exciting of tracks and same goes for the flipside. The best part of "The Anthem" is probably the dum-dum-dum intro but once the MCs start, it's clear that not everyone's up to the same par.