Even though Al Tariq's recent album was close enough to a Beatnuts album as you'll normally find, the 'Nuts are back, officially, on their first commercial single, "Do You Believe", a follow up to their blandiose "Find That". Fashion aka Al Tariq is noticeably missing from this 12", suggesting that he's gone solo in a permanent way, but I'm not willing to make any bets until I see the album. Anyway, "Do You Believe" has some classic Beatnuts qualities...mostly, good production and lyrics that are strong on style, weak on substance. Keys and basslines mark the music on "Do You Believe"...not one of the 'Nuts best productions, but it's not bad.
The same can't be said for the B-side, which is an obvious party joint nod. That's no crime, but sampling Patrice Rushen's mega-hit "Forget Me Nots" is. That's the type of song that Puffy would sample. Feel me? Plus, the hook is as hokey as the sample. It's great for comedic effect, but have no illusions...that sucker won't be coming near my playlist.
When the first piano keys fall, you're thinking Mobb Deep. And hey, Young Lord's production DOES sound a little "infamous" know what I mean? Big Punisher doesn't have that QBC voice, but his flow and lyrical content doesn't seem too far removed. I'm not calling him out as a clone, but even though this was a decent single, it's nothing outstanding.
Sean Lett, last heard with Common on "Lately, I've Been Thinking" ("America is Dying Slowly" sndtrk), is now on the scene with the moniker, Black Attack. Signed up soon-to-be-in-NYC upstart Correct, Black Attack's first official single is a strong debut, incorporating likeable production and some cameo support from Al Tariq and the yet-to-be-proven Problemz. The A-side has the more commercial friendly music, but it's far from crossover...like Black Sheep, "I can dig it." The B-side is really where sh*t gets set off...the ill xylophone sample, plus constant call-and-response between the three different MCs keeps the song moving from start to finish, definitely scoring high with the head nod factor. Correct doesn't give production credit on its promos, but my money is that the 'Nuts did the work on this sucker. Check for it.
This was a recommendation from my man Mercer. Don't know much about the artist, but I can tell you this much: "Appreciations" is the typical A-side. Boring, slightly commercial. The B-side "Games" feat. Dirt might have been good if it wasn't for the standard "beware of bi*ches* lyrics. I'll pass. Thankfully, "To Whom It May Concern" manages to save this one from the return desk. It's not slamming, but it works...good production and lyrics. Overall, I'm not that jazzed (or couldn't you tell) but that last cut is worth a listen at least.
Featuring the Natural Elements all-star line up of L-Swift, A Butta, the Raidermen, Mr. Voodoo and the Beamer Man, this cut should be a lil somethin, somethin to lace off Natural E fans. It's not their best work to date...even though I dig Charlagne, I have to admit the production left me uninterested even though the lyrical contributions by the above was nice. For those waiting for the Natural E album though, this isn't a bad appetizer to keep you over until the main course.
Don't ask me how, but I knew this single was from Canada when I first heard it. It's something in the production...jazz-influenced, but not jazzy per se. Hard to describe, but it's taking on a certain geographic quality that places like the Tri-State and Bay Areas have developed. That being said, I like both sides of this single, particularly "Blackrain" which has a nice soul sample. However, in the bigger picture, I wonder if this will spark briefly, then burn out, not unlike what we're seeing with the NYC indie scene. Can Canada be far behind?
Really weird. There are two Seismology Pt 1s...and both even have the same label number, yet they have different songs. I picked this copy, with "Deep Sleep" used, but I saw a new, sealed import copy that had different songs. 'Sup? However, maybe it doesn't really matter since the lyrics on "Deep Sleep" just didn't move me, not even the B-side Peanut Butter remix did enough to change that.
Let's face it...Ill Al is never going to be the next Rakim. Hell, I'm not sure if he's the next Tracey Lee. Al makes decent dance-oriented sides but more than the blunts, brew, babes and bruisin' lyrics, I don't want to say. This new single has a nice, uptempo A-side that'll probably make brief rounds in the clubs. The B-side uses the loop from "Enter the Dragon" that the Alkaholiks and Scarface have already used and given Ill Al's limitations for being a devestating mic wreaker, it doesn't really improve on either of the previous efforts.
No, it's not a new cut by the Mad Ladd. K Borne is contrbuting to PMP's growing gang of artists, many of whom are mediocore (Adrianna Evans being a prime exception). K Borne is, unfortunately, not going to change my impression too much. Nothing special about the music, his delivery, his lyrics or the song's overall vibe.
One of nicer finds of late...this Mike Zoot cut has a lot going for it. Three cuts, three fairly different styles, two good cuts, and a cameo by the one Mos Def (on "High Drama"). Yo Def...where's that damn album? Will someone sign this kid? (Payday was way too hasty in dropping him). Anyway, the Mike Zoot sh*t is kinda tight. I'm especially digging the piano loop that powers "Turn". "High Drama" is the "hard" cut on here...not that bad, though it's the least interesting of the three. Take a hit off the Zoot.
Another better-than-average-but-not-that-much-better indie record. A-side has your commercial-friendly cut. B-side is where the real meat is...the beat's nice, though not new (though I can't place who used it last). Rasheed's concept is cool, but the actual delivery of the package isn't as good as the wrapping if you feel me.
This isn't met as a dis, but this new Rawkotiks single embodies the limitations and strengths of the NY indie scene. Dope production and decent lyrics still don't set it off as something that'll get play (or sales) outside NY or NJ. Lots of folks have been talking about this and bottom-line, in a field of similar indie artists, you need to find a way to rise above the fray. "Nevertheless" has a dope bassline, but will be bumping it in a month? Not likely. Same goes for the B-side. In the wider arena of competing singles, the Rawcotiks still haven't demonstrated the ability to stand out.
I was a little surprised, maybe b/c it's been so long since I last heard a Rubberroom song. Both sides seems to be a Chicago interpretation of gun clap aesthetics, which are usually imbodied in the MCs themselves. Lot of yelling, lot of posturing about violence, metaphorical or real. The beats are ok, but not engaging and the over the top lyrics don't help much either.
Side 2 Side/Arabian Nights (Rawkus)
Sahdeep is making moves on three different labels nowadays. His last single came out on Synistavoicez but now he's down with the up-and-coming indie giant Rawkus...AND he's also doing sh*t on the new US3 album on jazz master Blue Note Records. Here's the thing though...I can't figure out why he's such hot property...the man ain't wack, but he's not that outstanding either. Take his new Rawkus single for instance...both sides are ok, but compared to labelmates Sir Menelik and the Indelible MCs, Sahdeeq comes in a pale third. Production on most sides tends to be the standard crossover A-side, for-the-heads B-side, but only "It Could Happen" (on his earlier single) really warranted my attention.
You know anyone associated with Dr. Octogon has to be on some bugged out sh*t and Sir Menelik stays true to the that with a far-out but way-dope single on Rawkus. "So Intelligent", with its off-step beats and the cameo by Kool Keith himself is sure to be most people's favorites, don't don't flip that wax too fast otherwise you might miss out on the A-side which I like better. Sir Menelik holds his own, with or without the Oct and the A-side's beats are a little more friendly from a mixologist's perspective.
Relativity has Common, sure to please the heads. They've MOP, which helps them cover the NY gun clap crowd. So why get Teflon? In some ways, I guess he fills in more crossover NY crowd that neither Common, the Beatnuts or MOP is going to get, but there's not much to get hyped over. "Get Mine" is your typical A-side, R&B chorus and all. The B-side is doper by comparison, but it sounds like an MOP cut (and guess what...they cameo) and doesn't really help me get a feel for why Teflon is deserving of a major label deal (then again, who is nowadays?)
Whoridas are some lucky SOBs. Not that they don't deserve their success but while their Hobo Junction peers are still pushing tapes on Berkeley street corners, the Whoridas have dropped no less than five singles vis a vis South Paw/Delicious Vinyl. Even though three of those were promos, it's still created a good buzz for the 'Ridas who have gotten better promotion, IMO, than most other underground Oakland artists right now. "Taxin" is finally out commercially for those who'd been fiending for it since the days it was called "Action". "Talkin' Bout Bank" is already making some noise on local stations, mostly on the strength of the Oaktown funk that it's bumping. It's more "country" than "Taxin" (local folks will know what I'm talkin' about) and thus, this A-side may not have the cross-coastal appeal that "Taxin" had.
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.