As I tried to suggest before, it seems that Camp Lo's star has passed faster than interest in Michael Jackson's baby. No one seems to talk about them anymore, maybe because they're not on tour, or because their album was really overrated (I don't think so personally) and now everyone's sliding out of the ether into a reality that doesn't seem to include Geechie and Sonny as part of the tape rotation. Whether this new single, "Black Nostaljack" will jump start interest in the two is hard to say. It's a fine choice for a single, especially from a commercial angle. The interesting thing is that the B-side remix is the first real disappointment I've heard from these cats in terms of Bs. It's not much of a remix, it mostly is just a stripped down version of the original. We'll see if Camp Lo can climb back onto the hip hop high.
Diamond D. is back (or so we're led to believe). I'm not sure if this is a lead off single to the new Diamond LP, but who cares? It's a kick ass single. Dope, dope production by Diamond...some nice jazzy sh*t, smooooth, if not a little simple (the track doesn't change up much). Lyrically, it's the DITC all-stars with Diamond starting sh*t off with some of his best damn lyrics in ages. Big L, unfortunately, follows and his sh*t doesn't do much. Next up: AG, Lord Finesse and OC, all of whom come nice. Fat Joe is noticeably (and thankfully) missing from this collaboration. Simply said...the single is a must for any Diamond fans, and if you're not one, take a listen and you might end up as one.
Even though "Fat Sacks" is definitely on some LA g-groovin' tip, the smoothed out production grew on me and I better appeciate it. It won't knock you off the seat, but it's not supposed to. Content-wise, Meen Green isn't breaking any barriers...it's all about weed, and about how Meen Green has sold his "fat sacks" to some of hip hop's finest (I wonder if the DEA has listened to this song at all?) It's the B-side that makes this a real Western Hemisfear gem, with Green teaming up with long-time colleague Vooodu and newcomer Mykill Miers (not that clever of a name BTW). "LA's Finest" has one of those beats that creep up on you before you realize, "Wow, this is kinda dope." Strong mic performances by all involved. Patchwerk is definitely busy right now with new Vooodu and Meen Green projects on tap...keep an ear out for it all.
I'll be honest, I wasn't really expecting much from this single...Sauce Money had a lil' somethin' somethin' on Jay Z's album, but his cameo on Big Jaz' "Foundation" seemed to add as much to the song as Pras does to the average Fugees joint (zzing!). That being said, Sauce Money still falls way short of his Brooklyn peers when it comes to mic skills, but even so, this new single has 'nuff flavor to hold its own despite. Money comes off decently, and the funk-blended track bumps well. Though this single was released by Roc-A-Fella, Sauce Money is technically signed to Geffen. My guess is that the single is promo only now, until Geffen starts commercial sales and disttribution later in the year.
I'm sure this had lyrical heads drooling...after all, putting together Company Flow and the Juggaknots is like a NYC indie wet dream. That being said, I think this mght be just a tad overrated. The A-side, in my mind, goes a little too far on this lyrical experimental tip. Along with the stripped down drum track, I can kind of see what they're trying to do here, but I wasn't feeling it, even if I could appreciate the nuances. The B-side is much better...the bottomed out bassline rumbles through the song and provides a much better head-nod factor...plus, I thought the lyrics were less awkward too.
Interestingly enough, the single that may not have been released was released, but the A-side on the promo tape that Loud was circulating was left OFF this single. My guess is that Loud knows everyone really just wants this cut, especially given the EC/WC dynamics that could add up to $$$ in terms of single sales and just getting people ready for the 'Liks in 97. For all the hype, the single comes close, but it ain't ALL that. You've heard better Alki songs. You've heard better ODB songs. You just haven't heard them together and the gimmick of that alcoholic combo is enough to carry the single. I'm not saying it's a weak, but after a couple of listens, the initial charm loses the luster.
It's taken the Perverted Rym Throwwa nearly a year to follow up what I thought was a sleeper hit of 1997, "MCs Ain't Saying Nutting". On one hand, I'm glad that they've finally put out a new single and included this cut on it. On the other hand, it's kind of sad that a year later, that cut is still the only thing really worth listening to on the single. For the most part, PRT (not to be confused with Poor Righteous) is on the same gun clap tip that too many other NYC heads are fronting with..."MCs Ain't Saying Nuttin" being a notable, and worthy, exception to this. It's still worth getting for that cut, but don't expect too much more.
Not to get down on Boston, but I have yet to hear an MC that really impresses me. Provided, Ed OG game out with some classic material, but as lyricists, only Scientifik has really peaked much interest at all, and even then.... M-Slash sounds a lot like Scientifik, leading me to wonder if there's some sort of Bostonian flow that's common to the 'Bury or something. Neither side excels in either lyrics or beats, instead, coming off a generic East Coast single with a Boston MC instead of some tired NYC guy.
So...did this guy get dropped from Perspective Records or what? While I personally like Young Zee a lot (very distinctive flow) I can see why his last single didn't stir up too many record sales. Either way, he's making the white label circuit now, getting backed up with the folks who put him on: The Fugees. Musically, the A-side has a weird banjo-sounding riff with a more standard bassline. It's not disconcerting, but doesn't QUITE sound right either. The B-side remix of "Stay Gold" resurrects an underappreciated beat from Ed OG's second LP. In general, a good cut...Lauryn rips it well, though her sung hook is a little awkward (too damn long). Overall, it's not one of Young Zee's better cuts, but it's decent. Also, he's joined the Pras/Jeru battle by dissing Jeru and Primo on this one. I guess it's safe to say that the "Stay Gold" remix was probably NOT done by Primo.
The Vinyl Reanimators are alittle weird to me. They've become quite busy with various white label remixes that fly below the copyright radar line, and thus, are not that easy to find. On the flip side, they're also putting out "legal" work, mostly producing indie joints, like L. the Head Toucha's new single. It'll be interesting to see what happens with their remixes if they start getting more legit. contracts. That being said, the "Fast Life" remix was already released quite a while back. It's ok, but there's at least two/three remixes of the song out there and I wouldn't say that this is far and away the best of them. It's the B-side remix of De La's "The Bizness" that's a nice listen...it's not super-butter, but at least it gives listeners a different approach to the song since De La never bothered to remix it themselves (a little surprising since it was their first single).
This is Street Smartz' older cut, preceding the new, hot "Metal Thingz". It works on a simple premise: Let's f--- with the utter overpopularity of Jay Z's "Ain't No Nig*a" and make a song about guns with the same beat that EPMD made famous back in the day. It's a gimmick, but it's got enough petrol to get you through at least the first two sets of verses before the premise gets tired.
This new Jay Z cut is courtsey Def Jam b/c it's off the soundtrack for "Sprung". Ski provides the production job, and overall, the cut would probably have fit nicely on Jay Z's album. It's a lighter track, flavored through piano keys and Ski's penchant for making "happy" beats (that's not a dis). Actually, it sounds a lot like a Camp Lo beat (surprise, surprise). Jay Z's lyrics are all about putting the mack on and while it's a far cry from, "D'Evils", it's good enough to groove to for a bit.
What What, the femme fatale from Natural Resource makes this otherwise middle-of-road single into some hype sh*t. Sure, her and Bahamadia share similar flows, but dope is dope. What What just laces this sh*t up on some poetic pleasure. The original mix is better...simpler bass line and good drum kicks...the remix is a little more musically dense...and it's not bad, but it doesn't really add much...and I prefer the original mix's darker sound to the noisy and happy Wiseguys remix. The b-side is an Herbalizer instrumental and doesn't really appeal to my tastes, but it's quite forgivable given the single's other charms.
What? Now? In the "Better Late Than Never" category, Japan's DJ Celery offers up a nice, boom bap heavy remix of OC's "Word...Life". Mary Joy has recently bought the rights to OC's last album from Wild Pitch and this is probably their first attempt to capitalize on their new purchase. The remix is tight, a lot darker and harder hitting than the original and remix that came out almost two years back. It's hard to say if the age of this 12" will matter or not...especially since "Word...Life" was a lil slept on anyway.
While the lyrics for this song are predictably mundane (when's the last time a jazz artist really dug up a quality MC?), the production by both Branford Marsalis and DJ Premier hold their own quite well. Branford's has a nice acoustic bassline that intros the piece itself, and shifts into a smooth, jazzy work. Premier keeps the vibes going, but laces it up East NY style through his use of the same drum loop that folks last heard on "Livin Proof" . Not one of Primo's better works, but worth checking nonetheless.
While it's a bit late (but then again, many of these instrumental albums have been), it's nice to have access to a lot of the butter tracks that were on "Resurrection"...especially a lot of the exemplery cuts that No ID put together. It's on the double vinyl too, ironic given that the original LP was only single. This is currently only a white-label test pressing, so I'm not sure when it'll hit the market, but I doubt it'll be too long.
Mo Wax is getting ready to release their first domestic US single, and Shadow gets the honor of being the first graced with this. Even though the import mixes of "Midnight" have been out for months, this new US single won't be out until the end of April, but it's well worth waiting for. The Gab m ix of "Midnight..." is cool, though I think most would rather have Gab kick some lyrics instead of recite a poem. "Red Bus..." was on the limited edition "Stem" 5" that never got released here...it's short, but Shadow-y sweet. The real gem though is Cut Chemist''s remix of "The Number Song"...consider how Cut, like Shadow, is sampling fiend, you know he's gonna do this song right with his great reworking of the song, retaining some key thematic parks, but making the rest all his in a collage of dope ass drum breaks.
Perhaps realizing that no one was feeling the lackluster tre-quel to "The Symphony" (why f--- with perfection?), Cutlass has slightly remixed the song, in accordance with the video, to include 3/4t hs of his snooze-fest original but then totally flip the proverbial script with a cameo by Heltah Skeltah. Thought H.S. didn't blow doors off with their LP, this new addition (and new beat to go with it) is tight, and while I'm still not happy having to suffer through the return of Shante, Craig G and Biz, at least there's something sweet at the end of it, a hip hop dessert for an otherwise bland banquet.
Sooooo...the Ghostface Killer, "All That I Got Is You" remix is out, but really, who the f--- cares? Here's the story behind this remix: Some NY DJ liked the song enough (why?) to go out and remix the song on his own...basically by sticking the now infamous ATCQ, "Bonita Applebaum" guitar and drum break underneath the original version of the song in order to give it some mixability . As I complained in an earlier SSS review...it's L A Z Y. Some sh*t I could have done at home in five minutes. However, what makes this different is that he decided to go bootleg the sh*t and make some dolo. Normally, this is good grounds to have the label come in and kick some copyright ass, but the remix got popular in the local area, particularly on th e radio so Epic actually bought the remix off the kid who made it (for $5,000) and made it their own. Now, if this DJ isn't the luckiest MF since US3 (who basically got caught looping Blue Note tracks and ended up signing a record deal with the label), I don't know who else is. Not only did he not get sued, he got paid for his minimal effort to m ake this GF song a little more dance-floor friendly.
In a weird shuffling of artists and labels, Grand (fka 50 Grand) has temporarily parted ways with his Homeliss Derelik partner, G Luv (aka the Architect, last heard on the new Stonesthrow single by Encore) and hooked up with long time South Bay peers, Peanut Butter Wolf and Fanatik. The result is now released on the UK label, Blind Side, which most recently had singles out from Big Kwam and B+ and A-Butta. (Um...O Dub, you gonna talk about THI S single at any point?) Oh yeah, anyway, so the Grand single is decent, but I wasn't as bowled over as I might have thought. Even though Peanut and Fanatik put this sh*t together, neither of their beats are as good as other works I've heard. And lyrica lly, Grand was better, in my opinion, on his last Homeliss Dereliks 12" that Stonesthrow put out.
The Roots produce this worthy follow-up to "How You Want It?". It's a butter Roots job...hella jazzy and smooth, sure to go over well with both fans of the Illadelph as well as worried JBs fans who thought th at Mike G and company might be on some "hard" sh*t given "How Ya Want It?"s forceful stylee. No fear, the JBs can still come off lovely on the more mellow tip too. A fine addition to any crate.
My man laced me with this next East Flatbush Project song, but after getting hyped on "Tried by 12", I was disappointed by this latest offering. Quite simply, it sounds like a lot of other sh*t coming out of NYC nowadays, neither the production, nor the lyrics really stood out to me. Right now, it's on tape, but vinyl should be forthcoming soon.
The "Queen of Hip Hop Soul" (a bad title if ever there was one) hooks up with mega-hit producers Jimmy Jam and Terry Lewis (who made Janet Jackson into the gargantuan star she is today). While the song is a'ight, it's not really as good as her older material...it's rather middle-of-the-road. Nas' appearance is tolerable, but he has even less presence on this song than Lauryn Hill had on "If I Ruled the World". If Bad Boy remixes it (and expect them t oo), I think that's when the real funky sh*t will start hitting.
What a mediocore remix. Mobb Deep fans will probably be hunting me down with the infrared for saying that, but yo, this sh*t adds ZERO to the song, and if anything, drags it down into "Friday th e 13th" kitsch. It takes more than looping a horror movie theme to make sh*t truly dark. Mobb Deep is fairly adept at doing it themselves w/o relying on all-too-obvious sources.
PMD has a long, long way to go, still, to resurrect his comeback career. Even if he does a remake of "Knick Knack Paddy Wack", you just realize for far Parrish Smith has to go to recapture the EPMD magic. And enlisting Mobb Deep is no big deal. Their cameos, nowadays, add little, except that they sound like new Mobb Deep tracks, ironically, making PMD the cameo more so than the Infamous themselves.
All I have is a tape copy of this song which should give eager Natural Elements' fans something to chew on when it actually gets released. Charlamagne, one of NY's most underrated producers, does the job on this one, though surprisingly, some claim its a Mobb Deep bite. The track has certain QBC qualities, but I never had it confused. L Swift drops one of many dope verses on this cut and even the Raidermen (who had a horrible last single) represent well. Look out for it in the summer.
The more I've been hearing from these Canadian (Vancouver?) kids, the more I like. This latest single does suffer a little from weak hooks, but this is quickly forgiven as dope rhymes and beats make quick amnesiacs out of initial skeptics. The A-side has a very likeable piano-flavored track but the B-side hides the gift. Though the "Day of Our Lives" loop at the start is a bit corny, when bassline comes in to wet the track...it's on. An other winner from the north.
You're not normally going to find me plugging R&B, but I have to give it up to the new Lauryn Hill song from "Love Jones". It's called "The Sweetest Thing" and her joint pro duction with Wyclef is simply butter. You can PH on the Fugees, but don't front on their musical licks. Sh*t is smoooooooth as f---. A nice song. Same goes for "Hopeless" on the same soundtrack, but that hasn't gotten released on single yet.
Talk about slept-on, this single came out in 1995 originally. Maybe b/c it had Canadian origins or something, but I only heard of it recently and was sorry I didn't catch onto it earlier. Pro duction is nice, a lot of vibes and keys color the track on both sides. Lyrics come ok...it's on that "next level" sh*t which I think is good in theory, but hella hard to pull off effectively w/o seeming like the MC is trying to hard to drop some futuris tic stylistics verbally speaking. Sic Sense does quite ok for itself on that tip though. If you've been taking the two year snooze, give this joint a listen and see if it perks your drowsiness.