At the risk of sounding just a little too enthusiastic...this 12" is f*ckin HYPE... I know some think KRS is overrated...but I can't feel that when this man's been able to drop kick ass cuts for over the last 10 years. Really, this new promo is killer, even better than the cuts on the 3-song 12" that just came out. The main problem, as many will quickly point out, is the recycled Blondie chorus that annoying screeches its way in on the intro. Ok, I'm not feeling it that much either, but f--- it. Once the beat kicks in (who is Jesse West?), it's all over...the track just smashes. Hypest single I've heard in a DAMN long time...which isn't to say it's the best thing...but on the level of getting that energy pumping and feet jumping, this cut will crush fools if done live, no question.

A new offering from Canada, this new 12" didn't do much for me. Production was unspiring and the lyrics didn't really stand out at all. Unfortunately, I don't have much more info on the artist himself, but this one just passed me by.

Remixing the song that's currently leading their popularity in the hip hop world, remixer Jocko imports a familiar sample from fans of MC Lyte's "Cha Cha Cha". I was half expecting someone to intone, "Kick this one here for me and my DJ". All that aside, the remix holds it down, and I like it better than "Luchini's" original mix. Sonny Cheeba and Geechie Suede hold it down with their distinctive off-rhyme-flow. Camp Lo fans won't be disappointed.

If I hear anymore of this "Iraq/Kuwait" bullsh*t, I'm going to be tempted to start shipping CNN 12"s out there. I may have missed out, but the Gulf War is rather passe in the American collective memory right now. Who gives a f---? That being said, the slow, bass-heavy track does all right on the head bob meter, but otherwise, is rather uninteresting (but then again, I have yet to get excited by any music CNN has put out). Lyrically, I'm even more tired of CNN than I am of Mobb Deep...at least the QBC can claim some degree of originality. CNN is yet another "gun clap" duo trying to stir up sh*t by spitting some big willie game, but really just dribbling the same ol bullsh*t.

More of an EP than either a 12" or LP, DJ Parker Lee brought back old school masters, the Cold Crush Brothers, and along with his own group, Mental Giants, pack in the two sides of this new project with a sampler of what P-Lee can do on the production boards. Unfortunately, the Cold Crush Brothers were fairly wack. No offense, but I got to call 'em like I hear 'em. "I'm on niggy who likes to be jiggy"? Oh please, don't go there. Moreover, the production on the two Cold Crush tracks weren't all that exciting. Nice, but unremarkable.

It's up to the B-side to win again and Mental Giants come through. MC Akbar comes off nice, especially in contrast to the out-dated delivery of the Cold Crush Bros. All four tracks on the B-side kick with 'nuff flavor, but "Uptown Drifter" gets my nod for the best of the bunch. The slow, moody and utterly dope track just slips along while Akbar comes on the laid back but dangerous tip. What P Lee should have done is dropped two 12"s b/c the Mental Giants can do the job just by their own damn selves.

"We're better than you figure" proclaims either Finsta or Bundy (still can't tell the diff) at the beginning...and you know what? They're right. After coming with a surprisingly strong 12" in the form of "Feel the High Part 1", this sequel holds its own. It's more upbeat than its predecessor, with Finsta and Bundy ripping sh*t over the murky but fly track. Give this single a spin and feel the high for yourself.

This is a remix? All they did was jack the exact same beat that the Fugees used on "Killing Me Softly" and put that under the LP track of the song. That's it. That's all. I'm supposed to be impressed by that? ATCQ did it first, and best, with their lifting of Little Feat's drum loop and the guitar lick that's so familiar in hip hop now. Whoever remixed this GFK single should be ashamed for their sheer laziness and then expecting people to shell out money for it.

This sampler comes from Mo Wax's new, massive, two-part Heads 2 compilation...if you've seen them, they give new meaning to the term "box set". While "Kemuri" was a tasty little treat by DJ Krush, from his album previous to "Meiso", the real gem on here is DJ Shadow's previously hard-to-find cut, "Zimbabwe Legit: Shadow's Legitimate Mix". Unless I'm mistaken, this is Shadow's first ever appearance on vinyl...back when he was doing production work for Hollywood Basic. It's an amazing listen to hear Shadow's handiwork from 6 years back, especially when you consider the fact that he didn't have a sampler to work with back then, only a four track, turntables, and his own hands and mind. Now THAT'S legitimate. Pick this up before the single fades from popular memory again.

Anyone want to lay money down that this kid is from Queens? You put him, Mic G and Royal Flush...hell, throw in AZ and Nas too, and it'd be like quintuplets on the mic. I'm not knocking L...I actually dug the single, but swear to god...the kid sounds like a LOT of other Queens rhyme stylers. And what's this "head toucha" nonsense? Why would I want someone touching my head?

Ok, seriously though, both cuts have a good, but commonplace Pete Rock-y sounding production touch to 'em. "Too Complex" is the better of the two...more sonically interesting, but "It's Your Life" holds it own too. The main question is whether L can distinguish himself among his better established peers.

Hmm...Bad Boy remixed "ATLiens"...and now Babyface is showing up on their "Jazzy Belle" remix? What really goes on? I guess the LP didn't sell too well b/c it seems like Outkast is trying to ride the money train with their new collaborations. That doesn't mean "Jazzy Belle" is butt...it's actually a decent remix, if for nothing else to hear Babyface actually say, "You need to lighten up your fu*king attitude". Damn, I guess the "lover in him" is getting kind of riled up. Seriously though, I think the song will do fine for them, but I'm not really feeling it that much. Good for the clubs, maybe. Good for walkman? Nah.

"It's All For You" is likeable...DJ Jazz and DJ Mighty Mi's production is nice on this cut...good, crisp drums and the synth(?) rhythm works well. As for MC Mr. Eon...his flow is downright simple and at times, sounds a little awkward, but it's easy to get into it. To me, he's not trying to be pretentious and what he lacks on verbal delivery, he makes up in an earnest rhyme-scheme and a memorable voice.

As for "Hands on Experience"...f---in hilarious...a truly comical cut that could go down as the hip hop classic on the topic of masturbation. My sole beef: Bobbito gets props from me for his dope ass indie label, and for all his work in promoting the future of hip hop, but he needs to stay away from the mic. This is the second time I've peeped him out, and I know he's not trying to come off like KRS...but it's painful listening to him. On the real.

"Cranial Lumps" rounds out this strong single with a nice, piano-flavored cut. Mr. Eon comes off better on this side (a bit), though I think I had a better liking for "It's All For You" between the two. Little issue though, the whole 12" is well worth the sticker price. Get your - ahem - hands on these 12"s. (Sorry, couldn't help it).

Buc Whead: Keep It Mackin'/Smoker's Emporium (Delicious Vinyl DV 1227)

When the Pharcyde folks ain't busy producing for Brian Green, they're handling sh*t for their labelmate: Buc Whead. The A-side, "Keep It Mackin'" is a whimsical cut, feat. Fat Lip on the mic and J-Swift on the musical end of things. Both production-wise and chorus-wise, sh*t's supposed to spark some smiles, and while it does sound kind of corny, that's the effect Buc Whead is after. The B-side's likeable too, but can we all agree that weed songs are gettin' a little played by this point? Otherwise, I dug on Buc Whead's lyrics even if the content seemed passe. Overall, this new artist is worth a peep, I just hope he finds his way better than Pharycde's last mentored-project, Quinton.

Somehow...the beef b/t Cypress Hill and Ice Cube isn't quite as fun as it might have been at one point. For one thing, Cube's just too easy to pick on...he's become the MC Hammer of the mid-90s for lyrical disses. Plus, the Cube soundalike make sh*t a bit weird when he started rhyming. How you gonna dis someone by jacking their verbal style? The beat's got 'nuff kick (the familiar drum track heps) and all, but I actually got kind of bored listening to this cut after a while.

I've long been a pretty vocal critic of DJ Muggs declining production aesthetics...I think he hit his high stride between Cypress Hill's first two albums, but steadily, the Soul Assassinators sound has been suiciding itself into oblivion. Well...Muggs is here to try to show and prove to all the critics that we don't know sh*t. Too bad he has to start off with a lackluster single featuring a lackluster MC. No doubt, Dre can produce a jam, but how many times has he really blessed the mic? B Real contributions on this cut, predominantly on the chorus, don't add much either. And the beat? Can anyone say, "Black Steel in the Hour of Chaos?" Been there, been done. Word on the street says that Muggs' compilation is going to be the bomb, but so far, it's not popping off for me.

The story behind this single is that Dutchmin originally put it out on another NYC indie label. However, sh*t went down kind of bad b/t either the rapper, the producer or the label...or all three. What ended up happening is that most of the original pressings got snatched up by one of three parties involved and they basically sat on the single out of protest (best hypothesis? Someone didn't get paid like they should have.) Six months later, some things get worked out, Dutchmin joins Stretch Armstrong's growing pool of NYC indie talent on Dolo Records, and we're all blessed with finally hearing this cut.

At first, it may not sound like much...the beat is mad simple, but mad dope for it. Once you get into Dutchmin's swervin' flow, you realize that this 12" is something special. The Orr-ator was mentioning that some indie joints just get you so hyped that you gotta hit up that request line and ask, "What the f--- was that?" This is one of those cuts...minimalistic production plus dope lyrical flow and tight punchlines equals dope single. The B-side has the same dope flow, but the lyrics are kind of played and the beat, while ok, doesn't hit you anywhere close to "Get Your Swerve On". No matter, pick this sh*t up, pick it up, pick it up. Dolo strikes again.

Another one of Ruffhouse's new rising artists (recently feat. on "Rumble in the Jungle"), John Forte aka Forte already had "Riddle of the Steel" appear on the Refugee Camp 12" a couple of months back. The A-side, "Riddle of the Steel" is ok, but really, the hook kind of killed it for me. The new B-side comes stronger, but I wasn't left that impressed with either side. Production is good, lyrics are ok, but there's not much that I found memorable past that.

Originally started as a live soul/jazz/hip hop group, Get Open has expanded into a 9 member collective that uses both samples and live instrumentation. This is their first indie release, having spent the last couple of years trying to get breaks and expanding their roster. Unfortunately, most of the 12" didn't seem that engaging, but the B-side remix of "Here and Now" stepped it up a bit, and probably is the best cut to establish the group in the fray of other, up-and-coming artists.

I haven't peeped the sales figures, but I'm bettin' the OGC aren't burning up Billboard and I know a lot of loyal Boot Camp Clique fans weren't really feeling OGC's new LP. It kind of surprises me b/c I thought OGC had better tracks to get down with than the Heltah Skeltah LP. Case in point, this new 12" has three tracks that all have simple, minimal, but effetive production...while none of it's outstanding, sh*t does the head bob job well enough. Lyrically, I still think OGC shares similar flows with Heltah, but maybe that's because I listened to Fab 5 one too many times and got confused about who's who. Regardless, I'm cool with the flows, I think they work well with the track and while they may not be dropping deep science, they have enough flavor to last where it counts.

I'm normally not a big fan of the Rza's lyrics...it's a flow thing, and my memory of his Gravediggaz days has long left me skeptical to his ability to carry a track. "Tragedy", which is from the surprisingly disappointing "Rhyme and Reason" soundtrack, holds its own though. The track isn't that special, but has the typical Rza touch...his second set of lyrics kick well...the only major liability is the some what dull hook which incorporates an old Eurythmics hook (not the one from "Sweet Dreams" though). Not a Wu Tang classic, but worth a stay in the crates.

When the Souls dropped off the hip hop frontline (and subsequently from Jive/Zomba), it was one of the most surprising falls from grace in recent times. After dazzling fools from coast to coast with their verbal kinetics on "93 Til Infinity", a lotta peeps weren't feeling their new-found East O. mack style that got put down on "No Man's Land". Now they're coming back on the indie tip, joining folks like Ed O.G. who are looking for new success from the indie side. Unfortunately, "Unseen Hand" just doesn't sound as dope as their earlier sh*t. The firecracker lyricim isn't there...the clever punchlines and verbal tricks don't seem as evident. If I were peeping them for the first time, I don't know if I'd really be so curious about them the next time around, something that I could never say about "That's When Ya Lost" which had me calling up radio request lines. DJ EQ's remix #1 improves on Opio's original track, his other remix isn't that much better, but neither can make up for what's really missing on this 12": The Souls of old. Blame me for being nostalgic, but new styles don't necessarily mean better.

*sigh* Indie label. Buckwild on the production board. New MC who's got OC and Pharaoh Monche on the B-side. And he's gotta waste his A-side track, "Problems" with yet another bullsh*t, "bi*ches ain't sh*t" song. "Don't get it wrong...I don't hate women". Yeah, I've heard it all before. You got played so you decide to come back by disrespecting yourself with some bullsh*t like, "If your ex offers you ass, you should still hit it." Word to PRT and KRS...whatever did happen to that conscious hip hop?

So it's up to OC and Pharaoh Monche to put sh*t right on the B-side by slamming the f--- out of a subdued OGEE (he did sh*t on De La's album) track. OC is ok, but it's nothing to write home about...however, Monche, recent winner of the Source' s "Rhyme of the Month" award for his verses here, comes with that ill style...definitely worth a peep. Oh yeah, as for the head artist himself, Street Smartz is ok, but doesn't stand out against the background of all the other NYC MCs trying to make a name for themselves.

Since I don't play a lot of G funk/dub/whateva, I tend to skip over Warren G, but I couldn't pass up the chance to say something about this latest single. First of all, it's on double vinyl. That's right, a single, on double vinyl, but more than that, it's in a fold-out cover, like what Def Jam did for Method Man/Redman's "Year of the Man" 12" a year or so back. If that wasn't enough, two of the four remixes that are on this single jack other people's beats and Warren G is quite upfront about that. EPMD has a beat used, as does Arrested Development. C'mon? This is the best Mr. G Dub himself can come up? Jackin' for beats? And of course, the title comes from Bob Marley himself. The song itself will probably do well commercially, but I dunno, I find this whole project kind of arrogantly outrageous on the part of Def Jam and Warren G.

With both the Hobo Junction and their affiliates, the Whoridas, keeping the street corner tape business busy around my Berkeley streets, the fact that this song, formerly called "Action" dropped on vinyl caught me by surprise...but it was a NICE surprise. I know not everyone's feeling sh*t out of the Hobo camp, but this latest 12" from the Whoridas is definitely on some bangin' sh*t. In fact, it's the best cut I've heard from the Whoridas, including their memorable "Shot Callin Big Ballin" remix (feat. on side B). Word on the streets is that this sucker is promo-only for now, but peep for it where you can.

Blackface: Cornbread b/w Session (Backstage BSR-3012)

Because of a labelling mishap, the sides got reversed so I really got hit with "Session" first...and good thing too. Showbiz's production is simple: five notes over two bars, with a prominent high hat set up...effective. Lyrically, it sounds like a lot of other material coming out the Big East...good, but not remarkable. The hook/chorus is decent, but again, not necessarily memorable. There's also a Hugo Boss remix, but stay with Showbiz's original track. The "real" A-side, "Cornbread" sounds like one - meaning that it's got more radio friendly flavor to it, but is kind of corny...no pun intended. Cornbread style? Collard green style? Good eatin', but not so good rappin'.

A new group out of San Francisco, City Side Crew, combines an interesting blend of underground beats and S.F.-stylized flows. Don't get me wrong, it works well, reminding me a bit of how Animal Pharm pulled off the same feat. Though the topic of "Kali" is a bit overdone - big buddah blessing - its unconventional guitar loop provides a good aural foundation for the CSC's lyrics. "Mission Complete" has good production as well (very clean, funky and it sounds live). Lyrics on both are cool, an interesting blend of local flow aesthetics and verbal ingenuity. A pleasant new single from tha Sucka Free.

Apparently, Holla's got some noteriety for laughin' on NYC radio...but far as this Cali kid is concerned, it's a bad gimmick gone amok. "Laugh at U" starts off with what sounds like eight bars (at least) of Holla's obnoxius laughing. Plus another couple of bars during the chorus. Yo...f--- that. "Joox" is better, and at least lets Holla display some lyrical cleverness through some smart punchlines and metaphors, but overall, it wasn't very close to remarkable.

A-side has dope scratching, not so impressive R&B hook/intro. The beat's a'ight...it works well with the flow from Da Naba Hook Threat's MCs...somewhere between sinister and eerie. Really...dump that hook and you might have a decent track. "Mind Tricks" has good elements: ill xylophone sample and chemistry-set sound effects ('sup with that though?)...NICE sh*t on the vibe tip. The only flat cut is the B-side which didn't move me on any level.

Three albums deep and Everlast still can't really carry a single (or album). He's not bad, but he's not about to whoop too many asses in a cipher fight. DJ Lethal holds up his end...with a dope ass guitar loop for "No Doubt"...some Johnny "Guitar" Watson type sh*t that bumps. "Reachin' Out" has a cool track too, but the lyrics just get mad corny. I mean...peep this: "I'll stick it in like a hot calzone"? Whateva man. And as for "X Files"...all I can say is that it sounded like a pretty sorry attempt to jack/adapt Goodie Mob's best known beat. No doubt.

Even though "Me, Not the Papers" isn't the title song for the 12" ("Me or the Papes" has that honor), this remix is, for me, the clear cut to talk about. Part of it is that you've already heard "Me or the Papes" and the short cut, "The Bullsh*t"...but more so than that, "Me, Not the Papers" is really an outstanding cut that takes the upbeat, mocking attitude of "Ya Played Ya'Self" and makes it deadly serious.

Much credit goes to what I can assume to be Premier's touch. While the original song had a light, some what mellow quality to it, Premier finds another piano sample but makes it much more somber, remiscent of Nas' "I Gave You Power", but better. Jeru does his part by coming deathly serious with an admonishment for all the studio gangsters...maintaining that his love for hip hop has always been about doing it for himself, "not for the papers". Despite the disappointment that many had with "Wrath of the Math", both Jeru and Premier's reconceptualization of the song makes this one of the strongest Jeru cuts I've peeped in a long time.

While I'm sure many of you are already sick of "Crush on You" even though it hasn't completely blown up on commercial radio yet...I still have to admit that it's kind of got a nice pop likeability to it...kind of like cotton candy - light, fluffy...eat too much and it'll make you sick, but it's kind of fun at times. Anyway, that's how I feel about "Crush on You".

The real gem is "Dreams (of F---ing an R&B D*ck)"...which is a funny-as-hell retort to Biggie's infamous "Dreams (of F---ing an R&B Bi*ch)". Lil Kim's task is easy: just turn every R&B singer out on the current market into her fantasy sex-thang. Pure hip hop comedy...plus a kick ass track that rips with its guitar chords.

At this point, I have mixed feelings...this cut was my favorite joint from the album, but having had the album for a while, I've already played the f--- out of "World Famous". Nonetheless, Big Jaz comes through with a playful piano track that sounds kind of funny being that it's the sonic backdrop for yet another gun-clap song from the firing squad. Though I tire a bit from their overly emoted call-and-response yelling and endless promotion of their ballistic potential, this is one track where it all works for me.

The single also has the video mix which blends "World Famous" with "Downtown Swinga". The confusing track is DJ Uneek's "DJ Premier Medly" which is just a blend of three DJ Premier-produced MOP songs...nothing to get into a twist about.

This Boston-duo comes mad correct on their second 12". Clearly, Raw Produce didn't sit at home doing nothin' since the last single...the production, for starters, is on a whole new level. Very catchy, very jazzy stuff...sounding GOOD. "Step Inside the Lab" is the musical gem (though the rest is all good too), reminding me of some of the jazz guitar-influenced beats that Pete Rock hooked up for the underappreciated, "The Main Ingredient". Lyrically, I definitely notice some improvements in flow and content, and the engineered mixing sounds more on point too. While I still have a hard time taking their name seriously (it's hard, ya know?), I'm starting to take more notice of the group, no doubt.

Hey...at the risk of being labeled a Shaq playa-hata, the A-side is fairly uninteresting and just what you'd expect from an overpaid basketball star trying to make a go at a rap career. Luckily, the B-side gets saved by two things: the first is King Tech's somber piano-powered remix of "No Love Lost". The second is cameos by Lord Tariq (yo, is this brother signed or what?) and Jay Z. In this context, even Shaq-Fu's lyrics are swallowable, if only to get to the yummy dessert of Lord Tariq and Jay Z.

No, not your latest R&B wanna-be, Tracey Lee is a guy who's coming with a new 12" that apparently sparking some interest on HITS. Interesting production, catchy, but not remarkable. Lee's got decent flow, but I wasn't too floored by his content or mic presence. The hook/chorus might attract some attention, but IMO, more so b/c of gimmick qualities than actual quality.