Archived: November 28


Awesome 2: Ahooga (Phat Wax PW115)

O-Dub: Four beats...all pretty flavorful. My fav's include the title cut, "Ahooga" and a fly little jam called "Zenobia's". This a breakbeat 12" and may not mean much to non-DJs, but it still gets my nod. Cool


Big Noyd: Usual Suspect remix (Tommy Boy TB 759)

O-Dub: Stretch Armstrong remixing? Apparently, and his effort is well worth it. I liked the original beat that the Infamous hooked up, but Strech kept the same feel and expanded on it. It's a bit smoother from before, but still plays well with a nice vibe-influenced groove. Too bad sh*t isn't radio playable, otherwise, I'd give it some more love.


Bounty Killer: Eyes a Bleed (Tommy Boy TB 763(

O-Dub: Bounty Killer is a Blunt artist (at least right now, while Blutn still exists). However, this is from the upcoming "Big Blunts Part 2" compilation. Wu Tang fans will want to check out the RZA mix feat. Masta Killa. Fans of other Bounty Killer's hip hop remixes will like the Tom Larock mix which is yet another hip hop collage, heavily focusing on Cypress Hill beats. The B-sides are far more dancehall-y and therefore, didn't spark my interest right off hand. Cool


D'Angelo "Me And Those Dreamin' Eyes Of Mine" (EMI Y-58592)

Mercer: Suppose you saw a record where the label and cover were completely blank except for the words: "D'Angelo, Erick Sermon, Redman & DJ Premier". What I'm saying is that EMI could have saved a few bucks doing something cheap like that rather than the standard shrinkwrapped GS they shipped, and it might have sold the same amount of copies at a slightly loftier margin. Speaking of margin, why _did_ EMI release a full-blown single two years after the album originally dropped? It won't really spur more CD sales, and majors are considered lucky if they as much as break even on a 12". Perhaps they just want fans to keep this talented artist in mind, assuming there's new material coming sometime soon. As the debut LP sold a surprising million and change, there just may be that kind of breathing room.

Of course, if you've been reading me and Ollie's stuff for a while, it's still no guarantee that a record's dope based strictly on personnel. First thing I'm pointing out is that none of the three remixes disappoint. However, none of them have blown me away either after repeated listens. All versions follow "less is more", keeping old melodics intact for the most part. The new drum machine parts are pretty basic, but practically anything's harder than the light rim percussion on the album version. As for overall appeal, head to the E-Double's "Def Squad Remix" for verses from Funk Doctor Spock, or the Dreamy Remix for a mellower vibe featuring Common Sense's sample from "h.e.r.". Finally, Premier has the pleasantly musical "Two Way Street Mix" which is the most complementary to the original which follows it on side B. Still, expect more of Primo's lately toned-down styles like those from "Lady" rather than the head-splitting fatness he's better known for.


Da Brat: freestyle (white label)

O-Dub: Gee...Da Brat flowing hardcore over the "Put It In Your Mouth" beat. After listening a while, my opinion is that the beat is the worse used dope beat in history. Don't even trip. The B-side , another Jermanie Dupri project, wasn't nuttin to talk 'bout either. Don't trip


Da Fat Cat Clique EP (DFCC FC4427)

O-Dub: A VERY interesting blend of styles from this slept-on Illadelph crew. The first cut, "My Tracks" is some summertime smooth stuff, not bad, but I wouldn't expect to hear it on a Doo Wop mix tape either. "Getting Over" is definitely some more commercial sounding sh*t and I wasn't impressed.

But...BUT...Da Flow..."Da Flow" is the sh*t...f---in great beat and posse lyricism that works on practically every MC featured on it. I'm surprised th is sh*t isn't making more noise than it is. Plus, the B-side "Live From Fox Valley" is decent too. Definitely worth picking up for "Da Flow" though...much thanks to my man DJ Steve for the hook-up. Cool


Diffarent Kombontion: International b/w Stereotypes (Infini T INFV-001)

O-Dub: This 12" is a mixed bag.. "Interntional" has a nice track to it and decent lyrics, but "Stereotypes" seems to come off like that...basically, you've hea rd it before. A'ight


Digital Underground "Glooty-Us-Maximus/We Got More" (Avex-Critique CRAB 15584-1)

Mercer: This is a handwritten white label (artist was not even credited) which may or may not come out, since it would probably detract from already disappointing sales of "Future Rhythm." If you happened to get serviced with this 12", then you've got instrumentals of two of the few decent cuts on the LP, plus the B-side acapella. "Glooty" has a cool bouncy funk feel to it, complete with smooth singing chorus that shouldn't have to problem with the bump crowd. "We Got More" has some creative sampling, but the lyrics fall down pretty quickly - maybe some DJ can figure out a better remix. Also, both cuts need a little plus on the pitch control knob, but you knew that already when you checked out the album the first time and didn't buy it.


DJ Krush "One The Strong Survive" remixes UK (Mo Wax MW060) Mercer: "We ain't done yet!" says Sony Japan and Mo Wax - even though "Meiso" was already remixed a bazillion times, I guess there are lots more rabbits in the producers' hats. Krush's "Another Maze" EP proved that guest cut with Black Thought and Mailk B has been totally milked out, but there was a small glint of light (or in terms of the music, darkness) with a new version of the CL Smooth cut. That track shows up on this more recent and cheaper (but still import) 12" featuring new renditions (no jungle though, whew!) by Attica Blues and Underdog.

This record in two words: holy shit. Attica's "7th Samurai Mix" smokes a straight jazz piano loop and drum samples so live you'd forget there was a new Roots album that just came out. The Underdog remix has a quiet, street level vibe that creates light head nods for the listener. Finally there's the previously Japan-only remix of thumping bass heaviness as well as the original masterpiece which sparked a new bridge between genuine American hip-hop and it's European and Asian musical counterparts - a bridge which continues to be fortified. While there have been numerous attempts in the last few years to illustrate the potential of this parternership, few have set as perfect an example as this.


Dr. Octagon "Blue Flowers (Prince Paul Remix)" (Mo Wax MW055P) Mercer: What do get when you combine the madness of Kool Keith with the man responsible for the artistic hip-hop slobber known as "Psychoanalysis"? Actually, nothing as chaotic as I just described. However, in of itself it's still a weird record, and by now anything with that obvious 8-sided logo is being scooped up by collectors. Note that I'm saying this becuase it's not very DJ-friendly beyond being a good pressing. Not only does it spin at 45, but the silly, drawn out intro is nearly impossible to incorporate into the average 1-and-2 routine. And the actual song? Considering the releases that came before it, it's neither musical enough, weird enough, or funny enough, and it won't stand alone either. Ever hear the term "diehards only"?


DSA: Unholy b/w Uncontrollable (Black Dog BD-540)

O-Dub: Another fantastic effort from the Dark Skin Assassins, this 12" has a lot to like. The A-side features a nice, ruff n' rugged beat (actually both sides do) and good rhymes/fl ow. The B-side edges out the A just a little as my favorite...it's a posse cut and sh*t is just raw sounding. Fat cuts...if you slept on their single, don't commit the same crime again.


E.T.'z: Ray Came True b/w You Don't Stop (Zestland)

O-Dub: Bouncy beats under decent flows (which sound a lot like Artifacts')...I actually liked the single, but it hasn't relaly stuck in my head much. Worth checking out and that's about all I can say. A'ight


Finsta Bundy "Feel The High Pt II" (Tape Kingz TK-002) Mercer: Single #4 for the slighty-above-average duo that never really broke through keeps them at a similar level. As usual, the production (Evil Dee this time) and lyrics are decent, but the complete product doesn't appeal to me long term. In other words, all of FB's records eventually wear out, and there's been no improvement in skills in the meantime. Really it's too bad becuase I feel they have the best of intentions, but competition in the indie market has gotten too intense for token props.


Frankenstein: Live From NYC remixes
Pain remix b/w What Does It All Mean? (Knowledge of Self)

O-Dub: Frakenstein's best strength as a producer is recognizing the vital importance of having a good high hat/snare combo. His sh*t just induces head nodding b/c his drum beats are on point. The "Live From NYC" LP is a remix effort of a bunch of sh*t you've heard before. It's a weird LP...not one you see too often, but it's good. Particularly good remixes are the ones that Frakenst ein does for "Shook Ones II", "Woo Hah" and "Fakin Jax". Worth picking up. Cool

On his single that features an ok remix of "Pain", there's a dope B-side called "What Does It All Mean?" They kick those high hats and snare as I mentioned plus con scious lyrics...what more you want? Sh*t's butter. This Canadian kid is definitely setting some cool sh*t off for 96. Cool


Fugees: Ready or Not Clark Kent remix (Columbia CSK 8777)

O-Dub: A NICE remix of the Ready or Not remix (i.e new lyrics, not old) but what's up with it being CD only? At least that's what it looks like right now. Clark Kent, a pro ducer who I thought was past his prime, has been turning in some decent sh*t lately and this is his best effort so far, IMO. Very jazzy/vibe-y and it meshes well with the lyrics...plus Clark Kent dumps Wyclef's annoying "Yo, L, where ya at?" chorus. Cool


George Clinton-Atomic Dog remixes (Capitol SPRO-11305)

O-Dub: At first listen, you don't think it's a bad remix...after all, Atomic Dog is a classic, and hey Coolio and company do decently...but then...think about it. Why even remi x one of funk's greatest classics? It's not as if Mariah Carey did the Tom Tom Club a favor by making "Fantasy" right? It's still a good single, but do George Clinton a favor and play the B-side original cut. A'ight


Ghostface Killah: Camay b/w Daytona 500 (Razor Sharp/Epic EAS 8732)

O-Dub: Another good Wu Tang effort, the way that almost all Wu Tang efforts end up good. RZA dips into the R&B crates for some sampling on this puppy and while it' s a far cry from the energy of the B-side "Daytona 500", I still have a hard time finding fault with it. Cool (RAZOR SHARP/EPIC)


Group Therapy: East Coast/West Coast Killas remix (Aftermath/Interscope INT8P 6056)

O-Dub: The remix plays better than the original...kind of whimsical but regarldess, it still doesn't bump, and worse yet, the lyrics further disappo int. Just b/c you have an all star team doesn't mean you get an all star effort. Don't trip


High School High Soundtrack (Big Beat 92709-01)

O-Dub: I'm willing to go out on a limb and say that this is the best hip hop soundtrack that we've seen since maybe "Juice". I can count at least 6 dope cuts, plus another 6 decent cu ts, plus the remaining tracks aren't that bad. If this album was shorter than 20 full-length tracks (i.e. if they cut the fat), they might have had the must buttery soundtrack ever, but they wanted to pile on more...which is cool for them, but do I reall y need to hear Jodeci's "The Wild Side"? Anyway, on the tracks that have NOT been released in some form or another, these are my picks: De La Soul: I Can't Call It. F---in DOPE. As good as any sh*t on the LP. 'Nuff said. Artifacts: The Ulti mate. Bouncy, fly ass Artifacts flow...the shiznit. Roots: The Good, The Bad, and the Desolate. I could've done without the rude boy, but once Tariq leaps in and ? starts to kick the snare, sh*t is looooovely.

Tribe's cut is forgettable, about as good as their last soundtrack cut, off of "The Show". Not impressed. Sadat X and Grand Puba come with a middle-of-the-pack cut that casts questions on whether or not a Brand Nubian is gonna be as dope as anyone thinks. All things considered th ough, you've got at least 10 decent cuts to play with...had Big Beat cut the fat out, they would've had one of the best f---in albums all year by going with the De La, Roots, Artifacts, KRS, Large Professor/Pete Rock and Inspectah Deck cuts. Despite bein g a mixed bag, when sh*t hits, I gotta give love nonetheless...The bomb


Hillfiguz "Up On Prospect/Boom!" (Dolo DOL-0226) Mercer: I took Ollie's recommendation on this one since I didn't recognize any personnel on this joint. I pretty much agree with his original view of "surprisingly decent" A-side beats, which are blues/rock influenced but manage to bounce quite well. But c'mon, how far can a group get with the same old hustler lyrics and a name like "Hillfiguz"? Beats can hold up every now and then, but as proven on the B-side, there's really no hope. So, try and rock the title track for as long as possible, and in the meantime I'll be patiently waiting for the debut 12" from "Nawtikaz" or some shit.

O Dub: Personally, good production can go a long way to hide not as good lyrics. No doubt, the Hilfiguz are not dropping too much new sh*t on the mic, but I think the interplay b/t their lyrics and the production is done well...most of all, the A -side ("Up On Prospect") has one of the sickest loops that I've heard in a long time. That alone, combined with decent lyrics, makes this 12" a nice surprise. Cool.


Homeliss Derelix: Cash Money b/w Operations (Stonesthrow?)

O-Dub: A nice new single from these San Jose kids, 50 Grand and producer G Luv. Both sides have a cool vibe to it, a testament to G Luv's talent for making jazzy beats that are distinctively part of a Bay Area underground that goes all too unnoticed by a lot of kids. 50 Grand has a cool, laid back flow that I know some kids ain't feeling, but he does all right by me...good Bay Area underground sh*t. Cool


House of Pain: Fed Up remix (Tommy Boy TB 758)

O-Dub: At first listen, you want to say, "Hey, this is kind of flavor"...especially for a House of Pain joint. Plus, Guru comes off much better than a lot of stuff we've heard from him of late. But on second listen, the recycled "Just To Get a Rep" beat sounded un-original (b/c it is) and if were to imagine this cut coming GangStarr, we'd trounce it out the door in nothing flat. So does it become good just b/c we think it's better th an what we'd expect it to be? In the end, it's not a bad cut, but I don't think it's as good as we want to think it is. A'ight


Hyenas: Can You Feel It? b/w Wild Dogs (Columbia CAS 7972)

O-Dub: A surprisingly GOOD 12". The three mixes of "Can You Feel It?" speak a lot to Gary G-Wiz's talent...all three parts kick a slightly different flavor but are still ke pt threaded together. "Wild Dogs" was likeable as well...good lyrics on all four songs. I was skeptical with the first 12", but I'm warming up to these kids. Cool


J Live: Can I Get It? b/w Hush the Crowd/Braggin Writes rx (Raw Shack RSP002V)

O-Dub: Along with Natural Resource's "Negro Baseball League", this is one of the best 12"s you're going to see all year, bar none. I just heard that it is the MOST added 12" on Gavin, which is a f---in incredible feat for an indie single to claim. 'Nuff props to J and George Sulmner for the success.

And why act surprised? J Live is one of the best new MCs I've heard in a long time...he has a flow, a style and a clarity which mark him as an MC's emcee, but he's not inaccessibly abstract either. "Can I Get It?" is a showcase of story telling skill..."Hush the Crowd" should be required listening for Wack MC School...and the "Braggin Writes" remix is si mply butter. Great new beat, fat new lyrics. Basically, you want this single (YES, you do). The bomb


Jay Z: Can't Stop the Hustle (Roc-A-Fella PVL 53251)

O-Dub: A decent remix, but why? It's not that different in terms of the feel/vibe of it. Jay Z is still kciking the same type o' lyrics. Don't trip.


Jigmastas "Hip-Hop/Beyond Real remix" (Beyond Real BR-002) Mercer: DJ's have been rocking the B-side of this almost exclusively, mostly becuase the trademark mellow keyboards have caught on with indie radio. Just like no one was really down with "Dead Man's Walk", "Hip-Hop" isn't anything that'll move ya. It's just doesn't work against the annoying choir sample and hook that exclaims "hip-hop" way too many times. As for the "Beyond Real" remix, it's similar musically (but adjusted accordingly,) and the lyrics and chorusing show clear improvements. Though I can't recommend this 12" outright, fans of the first single should go ahead and seek this followup.

O Dub: I got dulled on the first single and this one just did more of the same. The "Beyond Real" remix did nothing for me..."Hip Hop" had potential b/c the beat was semi-interesting, but once I felt the lyrics, that luster went dull pretty quick. Don't trip.


Jungle Brothers "How Ya Want It/The Jungle, The Brother" (Gee Street 422-854 781) Mercer: The JB's add a B-side to their original promo before hitting store shelves, but I'm still very disappointed at the new stylings. To be honest, I _was_ bouncing a little to Roc Raider's beat on "How Ya Want It", but those lyrics simply do not compete in 1996. Just flip the record to see what happens when they produce themselves and sound pretty ridiculous shouting that chorus over and over. Hello? This is NOT the way to get people interested in an upcoming album.


KGB "Yeah You/Heads On" (Hot Wax HW-1805) Mercer: These guys loosely related to Wu-Tang Clan had a so-so hit last year called "Bless Ya Life", though there were a couple lesser-known 12's before that as well. Just so you know, I was one of those who did NOT get all up in these guys after the last single, and I think I can prove it with this latest record. "Yeah You" is produced by Storm (who's been doing quite a bit of DIY work lately) - surprise! I've disliked most of the work he's done to this point. Slightly better (not saying much) is Russ Press doing beats on "Heads On", which has some interesting samples and melodic progressions. All the more important since no one in the group seems to know what to do with the mic.

O Dub: Personally, I think this single should do well for KGB, which is one of the first satellites in the Wu Tang world to break out of orbit and attain some identity of their own. The lyricism isn't way deep, but the production is strong, partic ularly on "Heads On" where the sped up sample is both whimsical and flavorful. Contrasted against that is the more minimalist "Yeah You" which becomes more of a street anthem vs. party shout. With a slew of weaker 12"s infiltrating the market, one could do much worse then spy a listen at KGB. Cool.


Lord Finesse: Check the Method b/w Do Your Thing (white label)

O-Dub: An unreleased cut from the Funky One. A decent cut, bu it's still not that much better than anything on the EP which was a mixed bag. Same lyrics you'd expect f rom Lord Finesse...same type o' production too. The B-side is on the EP so I won't bother to go too far into it. Lord Finesse fans should consider picking up this 12", otherwise...I wouldn't necessarily trip. A'ight


MC Lyte: As Bad as I Wanna B LP (EastWest ST-E-61781-8)

O-Dub: This review should cover the album and all the singles that are on it (including the new one that's out now, "Cold Rock a Party". In general, Lyte hasn't actually gone soft...what she's done is transform her tomboy brashness and attitude into sexually agressive femme fatale persona. In a sense, she's made a transition, but for people who were fans of her old sh*t, you know it's just not the same. You can hear the old Lyte sometimes, but the new lyrics, all 'bout sex and what not, just don't kick like "10% Dis" or "Cha Cha Cha". Jermaine Dupri's accessible, but pop-oriented beats are a further difference from Lyte's old school rawness. A'ight


Moonshine: The Origin of Species b/w Dunk Season (Arcane 56531)

O-Dub: Moonshine's creativity is both its strength and liability. On one hand, they're definitely trying to move lyricsm into new spaces. Moreover, their production i s original, jazzy, funky without becoming crossover. On the bad side, their lyrics are a bit too out there for my tastes...good flow goes a long way, but hella complex flows aren't my cup of tea either though, and after a while, it kind of sounds gimmick y. Too bad too b/c they have a lot going for them production-wise... I'm still willing to give this a good endorsement b/c I've liked the direction that the group is headed in. A'ight/Cool


M.O.P. "Dead And Gone/Stick To Ya Gunz" (Relativity 88561-1568-1) Mercer: See, this is where record labels piss me off. If anything, a good lead 12" to the new album would have been "Brownsville" (which was the second cut on the original promo,) and the "Downtown Swingin" remix. But no, they smack a throwaway A-side with an OK B-side (using the G Rap guest verse as bait,) and cross their fingers that kids will pick up the album. While business is business, M.O.P. is clearly not a group where one can listen to more than a few songs without getting sick of them. Therefore, Relativity is really gambling the two or three quality songs that will hold up the rest. Premier on the boards for some of the cuts may help, but ask Group Home how fast the LP's were flying out of the stores. Basically, if your shit is only good for the occasional hit single...

The A-side is really a bummer since M.O.P. is supposedly geared to the ruff-n-tuff crowd. On top of being unbearably slow, the lyrics are way too literal and come off extremely stupid. Cutest Motown-ish production by Laze 'E' Laze (who apparently was too Laze-E to make a good track) just FUBAR's it. If you had nothing to do, maybe you could argue that the rap is actually constructive and respectful. But that's simply not what people have been hyped up for in the last few months concerning this duo.

As for "Stick To Ya Gunz", yes, it's got Kool G Rap and yes, it's not bad overall, but I thought we figured out that looping the same 4 beats throughout the song won't work if people get tired of it before it's over. Give Premier a break though, as I'm sure he saved the meat for his own foundation.

O Dub: Well...no argument here. I didn't like the first single and the reworking of it, with the blatantly horrible "Dead and Gone" makes less of a believer out of me than before (as if that was possible). Bleah.


Outkast: ATliens b/w Wheelz of Steel (La Face LFDP-4197)

O-Dub: Another good single from Outkast who are winning more fans everyday it seems with their funk style...plus ATliens represents one of the more innovative concepts in hip hop that we've seen of late. You know I gotta give love to the B-side, featuring some wicked turntable stylistics. Cool


Raekwon: Rainy Dayz remix (Loud RDAB-64626-1)

O-Dub: An interesting 12"...promo-only...I liked the remix, but wondered why it came out so long after the album. Wu heads will want to snap it up...and I think it has good merit for pe ople who like good lyrics and production. In my Wu worn state, I can't really say much more, but get it where you can find it. Cool


Ras Kass: Live From C-Arson/Nature of the Threat b/w Anything Goes remix (Priority SPRO 30101)

O-Dub: Live from C-Arson is a "freestyle" that sounds suspiciously familiar, but hey, I'm not calling anyone out. "Nature of the Threat" is the mega-controversial cut off the album that I've railed on for its homophobia, but hey, at least it's out for you to hear for yourself. The "Anything Goes" remix is good, but it has limited potential...you're still left with the same lyrics regardl ess and I think that's the biggest liability, even though I did like "Anything Goes". But it's not gonna set the world on fire. A'ight


Raucous a/k/a Sabotage "No Way Out" (Shadow SDW12005-1) Mercer: A typical reaction to the line "Shadow Records is doing a straight rap 12-inch!" might be "yeah-right-whatever." Well, the label better known for licensing _instrumental_ hip-hop for the US seems to have found some lyricists in its ranks. They'll likely have trouble getting filed in the right record store section, which can be a good or bad depending on what you want out of your hip-hop. The production itself isn't too bad, in fact I found the "Shantel Session Mix" to my liking, and you've got the instrumental by itself which would be useful. The other stuff is comparable to midrange indie releases, with lyrical skills as the weakest link. That not terrible considering the label and the fact that most people will find this joint in the trip-hop section anyway. If you find it, listen to it. If you like it, buy it (what a concept.)

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Relativity Urban Assualt (Relativity RPROLP-0492)

O-Dub: If you don't already have some of the cuts on this sampler, including: The Beatnuts (Find That), Common (I See the B- In Yoo), No ID (The Real Weight), DJ Honda (Out for Cash) or Fat Joe's older cut (Firewater), this might be worth picking up...but beware...it's done pseudo-mix tape style which means there's an annoying hype man pitching the sh*t for you, instead of just letting you enjoy the track. Personally, the MOP track, "World Famous" was pretty good and I don't think that's been released yet. Neither has the Frankie Cutlass cut, "Games People Play", but believe me, it's no less for the rest of us. All in all, I'd be a little hesitant with this b/c the remaining single s are all available and better had in their original 12" form than on this sampler. But if you don't, or if you want to peep the tracks before you invest in acapella/instrumental verisons, it's not a bad purchase. Cool


Screwball: Screwed Up b/w They Wanna Know (Sneak Tip SC-001)

O-Dub: Yawn...ya know, I have to be candid...I've heard m aybe one decent cut featured on any Hydra single (that being Godfather Don's "Properties of the Steel"). This Sc rewball single does nada for me...not b/c it's wack, but b/c it sounds really middle-of-the-road. Mediocore. No outstanding lyricism, no memorable beats. Don't trip


Suga: Breakin MC (Def Jam)

O-Dub: I actually kind of liked this cut. Suga's no L-Boogie but between the bass bouncy track and fierce flow from Suga, sh*t worked for me. I don't expect it to blow up, but it may be worth checking. < b>A'ight


Supreme Dream Team: Land Of... b/w Forte: Riddle of the Street

O-Dub: Now that the Fugees have sold like...100 billion albums, they've used some of that capitol to make an indie label...which is good. What isn't as good is the fair ly bland "Supreme Dream Tream". Personally, I couldn't really take Pras on the album, why am I going to want to hear him on an indie effort? The B-side is better, but it's not a marker of hip hop excellence either. Production is decent on both sides, b ut overall, I didn't walk away feeling jazzed on this single. A'ight


The Rose Family: Beaches and Creme b/w Hah! (Rawkus RWK 105-1)

O-Dub: They're being billed as some next sh*t around town and in all candidness, I can't see why. They're about average with a lot of NYC crews...nothing much stands ou t at all. They might be keeping it real but they're keeping it generic. Don't trip


Ultra "Big Time/Industry Is Wak" (Our Turn OTR-1003) Mercer: Oops, I picked up the promo after I already got short-changed on the retail version. Why do labels do this? They juice up the copies they give away for free and then perhaps they wonder why peeps don't buy the ones in stores which have a lot less value. Oh, but the promos are "not for sale", ha ha ha. First give the fans what they actually want, then we'll talk.

You know the original version already, so let's skip ahead to side B. The "Big Time" remix has less of the playa feel, instead working off a strong bass and piano loop. As wack as Tim Dog and Kool Keith can come off at times, the flow mysteriously fits the track and lyrical content. I guess that's been their formula all these years anyway. The bonus B-side has eerie guitar samples which set the stage for now-standard criticism of the record business. Nothing bad to say about the new Ultra, but I do hope Tim Dog doesn't always rhyme first on this album if it ever comes out.


Wisdom "It's Rare/Angel/All Star Jam" (EMO-002) Mercer: Wisdom continues the line of indie success that started with the Juggaknots and then Adagio. Keeping production mellow but melodic makes for a relaxed vibe that lets listeners pay attention to actual lyrics rather than just rhythmic flow. While not as immediately catchy as "The Obvious Joint" and "Ass & Benefits", cuts like "It's Rare" and "Angel" (after you speed it up a bit) clearly show that producer Big Cousin is not here just to make one-hit wonders. "All Star Jam" has the whole crew together, though unfortunately not on the strongest beat. Still, instrumentals for all three cuts make for a good value overall.


Xzibit "The Foundation" (Loud RDAB-64647-1) Mercer: So far it's three promos, one retail single and no album. Is Loud investing too much? I don't see Xzibit selling any more than the Alkaholiks did, and they weren't going gold or nothing. However, the Liks stayed above water early on with their popular commercial 12's, which today are still heavily in demand on the aftermarket. But in this scenario, DJ's have been serviced with advances one song at a time, and the first shrinkwrap single ("Paparazzi") didn't exactly fly off the shelves being that there were way too many promos as it was and there was no difference between the two. Maybe their strategy is to bypass the street and instead unload a high number of CD's. Fine, but then why bother with so much promo wax? All you need is one good video (which they had) and kids are lining up at Sam Goody. How ironic then that "At The Speed Of Life" is taking forever to be released.

When I dropped the needle on this I was like "cool, it's FF's 'For No Reason'!" Actually, Muggs just pulled the same Billy Joel piano loop. Yes, it's Muggs on the boards this time - I guess I'm so used to the smoked out tracks. It might as well have been E-Swift though, considering the same style of strings and simple but punchy drum tracks. Lyrics are preachy and a good message, but most hip-hop fans who know a non-mainstream artist like Xzibit doesn't need lessons of life through their speakers. I was paying much more attention to the piano track, thinking how much I wanted to hear some Freestyle Fellowship as soon as I was done with "The Foundation." I guess this serves better to support the reissues of "To Whom It May Concern", which I would definitely recommend over the record I thought I was reviewing here. p>O-Dub: Technically speaking, I recognize that this is a thoughtful piece and shows considerably maturity and presence-of-mind on the part of Xzibit, but the recycled beat, while nice, just doesn't move me and neither do the lyrics. Must make hea rtless, but I'm call 'em as my gut tells me. A'ight