Abstract Rude: My Experience Is.../Somethin' 'Bout the Music (Big Dada)

While neither song is "new", it's the first time most of you will have seen either on wax. In the aftermath of Ab's fall-out with Grand Royal, the anticipatedalbum never materialized, leaving only bad dubs in the wake. Big Dada, run by Trace Magazine's Wil Ashon, has stepped in across the Atlantic to fill in the void, putting two of Ab's better songs on 12". Simply said, I like both sides, though the down-beat "My Experience Is..." gets the nod for the more bumpable of the two sides... I still think that Abstract Rude's sing-slur voice is an acquired taste and not one that I'm always into sampling after having been subjected to it for the umpteenth hook.

A likable song, but it has the feel, both musically and lyrically of a younger Biz Markie...owning largely to the "Substitution" drum break and diabolically sound-alike lyrics. This kid reminds me of Chicago's All Natural, but just not quite as engaging.

At first, this seems to be the type of EP that only hardcore Canibus fans would want, but I actually think it's something that the unsure Canibus listeners should peep. The reason I say this is b/c Canibus' mega-hyped profile (unsupported by his fairly weak cameos) was mostly based on his mixtape freestyles for Tony Touch and company. The EP finally makes most of his brightest moments available in one place...and on wax no less. And ya know what? You almost can see why folks wanted to bring Canibus onto the majors...on these freestyles he does come a little danger. "How We Roll" (radio) is also on this 12" for those who missed the white label (though this EP is promo-only anyway). The bigger question is whether or not a sh*t-hot freestyler rhymer can make actual songs (vs. freestyles). Folks who think Canibus has the juice to crossover should just ask whatever happened to Supernatural.

Arguably the best of Wu's second team, Cappadonna follows up his hot-as-hell "97 Mentality" with yet another gem for the Wu collectors. "Slang Editorial" is not Inspecta-Deck-on-Triumph blaze sh*t, but it's still pretty fresh (and hell, I'm sick of the Wu) assuming you can get with Cappa's slightly behind-the-beat flow. The beat is decent...sh*t plods a bit slow, but this isn't trying to be some uptempo sh*t anyway. "The Pillage" isn't quite as nice...the beats sounds like one of Rza's lesser talented protoges versus Mr. Rakeem himself. Rounding out the 12" is a radio edit for "97 Mentality" in case you missed out the first time.

While his name makes me suspicious, it can't hurt to have Tame One come on to cameo. It's good to hear the Brick City kid do his thing and then move aside for Hussein who sounds like he's graduated from P.S. QB...not the most original flow, but it works on this song at least. The track is uncredited but it doesn't sound like your typical Mobb Sleep producto. Worth checking dun.

With the exception of material off their first LP, this has to be the dullest Gangstarr single ever released. It's not that it's butt-booty-bad, but for a 12" song, it's bland as milk missing the fat, which is exactly what's missing from the track as well. The inclusion of K-Ci and JoJo won't offend as bad as you might guess, but it hardly adds anything to the already watered down piano-hyper track. It vaguely sounds like a Premier production, but you'll be wondering if Primo was on Sominex at the time. All the more proof that Gangstarr's greatness resides in the able hands of its producer rather than the MC, no matter how unlimited the gifts are.

In case you hadn't heard, Haiku D' Tat is composed of former Fellowship freestylers Mikah 9, Abstract Rude and Aceyalone rhyming over the work of a live band. The Fellowship have always been iconoclasts (i.e. they rarely do as others do), even their first LP (arguably their most conservative) pushed in directions that other MCs weren't even dreaming up. Haiku D' Tat isn't necessarily ground-breaking, but it does suggest that the Fellowship alum are still intent on breaking with underground hip hop convention. Their moody live music on "Los Dangerous" mixes with the choruses sung in ragga and English and all three MCs wrap themselves into the folds of the song rather than pop up, drop their verses, then bounce. Think of the whole single as a better version of Spearhead - the beats aren't quite as infectous but Acey versus Michael Franti? No contest. With that ample warning, proceed onto this single at your own risk.

What...only two tracks this time? A'ight, maybe I've gotten spoiled by High and Mighty's last two singles that had three songs apiece. No matter...this latest is another quality act. Both sides feature strong production (big up to LA's Alchemist for his work...this kid needs to get tapped more often) and fair lyricism. Solid mix show type flavors.

This three song 12" is worth getting if for nothing more than DJ Spinna's production on "Hip Hop Till I Die" which is one of the sweetest beats this sugar slinger has put together yet. The rest of the single is just fine, but this particular track practically makes you forget the rest. IG Off and Hazardous aren't supa MCs, but they are earnest and show enough personality to make up for their lack of lyrical brilliance.

The best sh*t most of you have never heard. Out of Houston TX, K-Otix's EP drops some strong lyrics and bad butta tracks. The production on "?????!!!!!" took control of my neck bone and the "Montara" sample on "Fallin Down II" was no joke either (even if Royal Flush beat him to the punch). This Texan pair will have you re-evaluating whatever it is you thought of hip hop from the Lone Star state...enough to have your minds playing tricks on ya. Don't sleep, this is easily one of the best singles/EPs out right now.

Why do the Wu f*ck up perfectly usable beats with bullsh*t vocalizing? In most cases, it adds next to nothing, like on "One Step" which True Master producers for Killah Priest. Personally, I'm not particularly wowed over by Priest...yet another Wu second teamer who lacks the charisma that someone like Cappadonna displays. The B-side (by 4th Disciple) is mega-subtle but not too much worse for the experience. Taking it a bit easier, Killah Priest rolls with a Rakim-soundalike drawl...like he's rhyming in a lounge chair or something. It's oddly appealing actually...Priest gets in some good jabs on the "fake MCs" and you'll enjoy the slower vibe.

L takes his letter name a little far...especially since I still can't figure out what the f--- his name is supposed to sound like. As an MC, his flow is a too staccato...it's stays on beat at least, but you never get a real sense of his lyrical personality - a must for any MC to have some kind of longevity. The beat does well enough though...fierce and fast thanks to DJ Zeph's work. "Implosion" goes in the other direction...slows it down and replaces the hypeness of the A-side with a cooled-out vibe that's even better than the A. L sounds better, especially when he's not rhyming a mile a minute. The bonus cut is yet another different side of DJ Steph...noisy and jazzy it rounds out an impressive trio of beat-making that's not quite as well matched by L'Rdneous' rhyme schemology. Still well worth checking though.

Real heads may scoff, but damn if Mase and the Lox don't rock just a lil hard on both sides of this white label. They sound like custom mixtape songs, but even if they fail to push the boundries of the genre, both sides are decent enough East Coast-type anthems to get you juiced - assuming you're into that sh*t to begin with.

Surprisingly disappointing...maybe I'm just not open-minded enough to get with Medusa's unorthodox hooks and the boringly sparse beats by J A to the Z and Fat Jack. It's not wick wick wack, but it definitely feels like an acquired flavor to get with as LA's baddest femme fatale just doesn't seem to catch more wreck than a Big Wheels crash.

I'm really feeling this new MF Doom single. The sound quality is horrible...it has "4 track" all over it, but f*ck that...Zev Luv has an ear for the illest fuc*in beats...sh*t is just juiced to the brim. And rhymlistically...he's unpredictable, unorthodox, even sounding a little sloppy at times, but don't slip...he rhymes with such command of his craft that you feel like he could take the rhyme anywhere he wants to...and he does. A command single, absofu*kinglutely...

A decent pair of the album singles...and not a bad primer for those who haven't heard said LP. I suspect that Hi Tek does both sides in terms of production (no credit is given) andhis ear for eerie jazz breaks plays well with the two songs. Not a phenomenal single, but worth checking out.

The crazy electric rock sound of this new 12" sounds bizaare, but ya know? Sh*t works. Noise is MOP's calling card anyway, right? So why not whip up a frenzied metal-tinged track to go with it? MOP still keeps it real with their non-stop gun clap. Duck down fools!

On the B-side, Premier apparently takes two too many hits and drifts into electro-funk land. Don't take that as a dis though cause the beat works pretty damn well...it's just nothing like Premier's whipped up on the boards before. Let that synthesizer wah wah like a newborn, baby...

Even the radio edit sounds like it'd get me kicked off of radio...but ya know...I'm feeeeling this single. Not b/c I'm all into sex/porno rhymes, but where did they find that soul sample? Maybe it's that classic tension created between the sacred (soul music) and profane (basically...Necro) that makes for such an engaging song. Or...maybe I just like saying "get on your knees baby"... (B-side next time).

Damn...now we got all these remixes coming out of the woodwork from Relativity. "State to State" is arguably one of the best songs from No ID's album (thanks to Common's cameo). The album had a nice jazzy kick to it but both the Pimp and Mafia remixes (both by the Beatnuts) kill that vibe. The Pimp remix rocks the blaxploitation feel but comes off more underproduced than badaaaaaaas. The Mafia remix has some Gotti-esque(?) strinsg going on...but it also feels like it's lacking in real punch. Surprising as it may sound, but stay with the album version if you gotta rock it.

What's the big deal with DMX? Maybe I'm missing something, but he sounds like yet another NY cameo-king (think Canibus or Sauce Money) with little else to distinguish himself, which includes his little bit on "Shut "Em Down". Speaking of the song...just pass. The flip-side is a little easier to get into, though Onyx's scream and shout steelo is pretty hard to take after a while, regardless of the track. Disk two of this double 12" has some of Onyx's better known cuts, like "Throw Ya Gunz" and "Shiftee" (no "Slam" though? Wassup!) Decent for the fans who missed those cuts on wax the first time around, but everyone else? Just more filler between your 12" jacket.

I've already spoken on the a-side at length...and my update says that the cut still isn't as strong as it could be. It's very good...but a classic? No.

The B-side though is exceptionally dope. Between Talib's mental lyricism and Hi-Tek's piano banging beat, "Manifesto" is a hip hop 101 course on trying to come fresh instead of flat. F*cking fat song that should be echoing through ears from coast to coast. The B wins again.

The best thing of this single is that Pete Rock recognizes that his original track was too noisy. Lifting the piano off, "The Saga Begins" becomes a better sonic vehicle for Rakim to ride with his rhythmic flow. It's a lot more minimalistic, but that's how the R does it best - you want to underproduce the God, not overrun him with ya beats. What Pete Rock was clearly lacking (and still does though) is a bassline...the remix doesn't make "The Saga Begins" into the album's best song, but it does make its better qualities (Rakim) shine better. Personally, enterprising DJs should take the acapella and DIY.

You get "true head" points if you actually own anything off of the Rough House Survivor's first album. Does anyone else remember these cats? Their only album came out in 1992 (it's been a long time) and dropped on Relativity, complete with production by PRT's old favorite, Tony D(ofat) plus remixes by Pete Rock. Personally, I liked some of their beats well enough, but I never tripped off these kids - they weren't unsung hip hop heroes, but the weren't destined for the bargain bin either.

On their return (this time on MCA), they still show that they haven't lost the knack for making likeable hip hop. "Bad Luck"'s crispy, crunchy drums is fun enough and "New York to LA" takes it smoother without being too pop-driven. "You Got It" is kinda tight too...the hook kept my interest though their lead MC sounds like he bit Method Man's flow something criminal-like.

Interestingly enough though...the 12" sounds a touch out of time...not so much that it's dated (no one will confuse this with their 1992 material) but b/c its hard to place in the current market. It's not crossover, it's not exactly underground...it's the type of hip hop that would have worked just fine the early 1990s. In the Nine Eight, I'm feeling their sh*t, but I can't figure out where it belongs in the current scheme. Will this bode well for the return of the Rough House? You decide.

Decent, but despite the line-up, it's not that remarkable of a Diamond D song. It's kind of your garden variety New York hip hop sampler type of single...both sides...with nothing being exceptionally blazing, though "Feel It" can definitely get you by if you need a mix show cut. Otherwise, don't trip until the album drops.

While I don't think Us Plus One makes incredible hip hop, I do think they make some good singles...packing in plenty of crunchy beats and mixing in decent though unremarkable lyrics. This latest single isn't quite as strong as past ones..."Dear Jenny" went by unnoticed, but the flipside remix is nice. Likewise, "For All My People Locked Down" is cliche in concept, but fairly good in execution. I just wonder why more kids haven't heard of this crew...their sh*t has been dependably solid throughout.

This is on the Temple of Hip Hop project that KRS kept jawing on about on "I Got Next". It features...among others, Smooth B, Rampage (?!), and of course, KRS himself. Is this the physical manifestation of hip hop universal? (yeah right) On its own...it's your typical Kris Parker, boom boom bap type of beat that he seems to lace Mad Lion with all the time. Worth a quick listen, but don't trip if you can't find this import.

I do think their timing could be fine-tuned a bit...of the three songs on this 12": "Step Into a World", "Hip Hop Drunkies" and "Who You Wit?"...all are at least more than half a year more. Still, this is some of the Reanimators' best work yet. On all three songs, they build on the original concept especially on their remix of "Hip Hop Drunkies" which still kicks with the same energy as the 'Liks original. However, Jay Z's "Who You Wit" remix takes the cake for solid remixing...its in the same vein as the original and just as infectuously groovy as before. The only flaw is that the soundmixing sounds low, but a quick flip of your volume control should fix that one. Spin this.

Last heard two years back on Key Kool and DJ Rhettmatic's "Kozmonautz" album, the LA underground crew, the Visionaries, have fine-tuned the beats and lyrics on their best work to date. "Love" rocks hard under Key's sonic tutelage, but the butter break has to go to J-Rocc's "Blessings" B-side. It's mad simple, but mad fresh all the more for uncomplicated elegance...one of those beats that gets into your head and is guaranteed to generate waves of "aw yeah" from the crowd when the first bar is played. Bless your ears with this single.

In a nice cross of East/West, the Beat Down remix takes the beat from an Ultramagnetic's classic. The result is kinda dope, especially with the Whoridas laid back drawl scrawling its way over the breakbeat. The Bob Durham is your West Coast version...a tad redundant and totally lacking the hype that the Beat Down remix inspired.

Absent Minded: Child's Play (Breaking Bread) After three separate spins, conclusion: unremarkable. Abstract hip hop that's too ephemeral.

Once you hear the familiar bassline of "Another One Bites the Dust", you know what tip this joint is on: some old New York party sh*t...but hey, it works surprisingly well - or at least better than expected. Peep.

As the re-warming of "Dazz" filters its way in, you can cry, "jeez, where's the originality", but hey, even Das Efx's biggest hit, "We Got Efx" was based on the same "Black Caeser" loop that Lord Finesse flipped wickedly two years prior. "Rap Scholar" isn't all that remarkable, but it's good for one or two mixshow spins.

Even with the re-appearance of Kurious on the B-side, both sides suffer from lackluster beats that fail to excite even the hair in my ears.

An average Bay Area based MC with an average 12". Beats are some what bland..."Hit 'Em" comes a little tighter, but really lacks fresh drums. Even Noggin Nodders (aka Motion Man) can't do much to soup this one up though his speedy delivery is kinda fly (even if his cameo is mad short). Lyrical C though just isn't very impressive. His flow is on par but his lyrics (despite the name) seem a touch simplisitic at times, especially because he fails to change up his delivery much.

The debut single from Bomb Records' off-shoot, Bomb Basics, this EP of songs from Metabass' full-length LP is for some other type of head into more abstract (and apparelty, European) sh*t. It's not exactly wack, but I couldn't feel the vocals or beats. The only thing I really liked is "Where's My Guitar"...a beatbox virtuosa concert. Short but spittingly sweet.

Yaaaaaawn. As bland as he wants to be.

New York standard fare ala "Deja Vu". No surprises, but it's not wack.

Maybe O.C. and his main squeeze can't go wrong, but these faux-remixes seems poorly thought out. Sure, at least they're saving money on production, but given that neither song (in my opinion at least) is THAT remarkable to begin with...you just have mediocricy times two.

Vaguely interesting beats on "Get On Down" and "Slow Motion", but not very inspiring lyrics throughout. I tried listening to this whole 12" four, five times and very little stuck with me.

Biggie gets reborn by this Crooklyn clone. I guess some people loved Big Poppa too much...