As the Wu juggernaut rolls closer and closer, Cappadonna jumps out a bit to drop this solo joint. I'm Wu-ed out (still), but I still have to admit, RZA's the man. Sure, this two bar loop isn't that complicated, but it works...it works. Cappadonna is ok...but compared to the more senior Wu members, he's not all that hot.
You know...I'm finding it hard not to like Cru. They might have a fairly commercial sound, but at least they know how to serve it up tasty. This new single uses a lot of Slick Rick-isms (he's supposed to be on the single but I couldn't pick him out) so it's a little on the old school tip. Worth a listen.
Shaolin's original UMCs are back...sort of... Kool Kim on the rhyme, Has Gee on the production boards, but the Kool One gets label credit. I guess after their dismal sophomore album, the UMCs thought the indie route might hold more promise. Regardless, this is a good single. The UMCs were never supa emcees, but Kool Kim comes pretty nice on this one, and the addition of Natural Element's female MC, Essence, is the added bonus that makes this single a keeper. The B-side is Kim on his own, and while it's still decent, it's production comes a little stronger than the rhymes.
The end is nigh! Or so people are screaming. It's like the Seventh Seal from the apocalypse...that when the Teacher and Puff shall meet, the final hour is upon us. Well, for all the historonics on both sides (newly minted KRS-haters and the equally zealous KRS-apologists), could I just suggest that Puff actually put together a rather dope beat? Sure, it's just a splicing of "Soul Clap" with "Nobody Beats the Biz" but the two work together well in a way that I really have to give credit to Puff for making a slammin beat by doing almost nothing (and no, that's not really meant as a back-handed slap).
Of course, the song itself is wack and may go down in history as KRS' worst moment though he's got a long career ahead of him still to do something even more nefarious. But so much for not running for the mill eh? Put another way, KRS and Mase now have something in common. That should be scary enough already.
Is anyone really checking for Mad Lion? I'll give him (and KRS) credit for "Take It EZ", one of the dopest dance hits ever invented, but all things considered, the "King of Hip Hop Reggae" is about as meaningful (less so actually) than "Queen of Hip Hop Soul". What the majority of his work has been are bouncy KRS jams with reggae lyrics over them...fancy instrumentals if you will. Maybe I'm beign a little harsh, but this new single doesn't really have that much going for it besides...a bouncy KRS jam.
My nominee for the most cliched name and song titles...could we get a little more banal? I just had to laugh.
Having been thrown a wild pitch, O.C. has now made a new home with Pay Day and his first single with them features the beats of Premier. "TImes Up" part 2? Not even close. It's actually one of the more mediocore O.C. offerings I'veheard of late (and he's been on a lot of cameos) and I wasn't that moved by Primo's beat either. Blasphemy? I dunno...I actually didn't like "Time's Up" that much when I first heard it...had to grow on me. Maybe it's the same thing here.
Someone please notify the hip hop world that biting a pop hook to make your own hook is not that cool? Who really felt Nas' appropriation of Eurythmics on "Street Dreams"? Who actually wanted to hear Blondie again on "Step Into a World"? And who wants to hear Forte and Pras bite, "I'm leaving...on a jet plane, don't know when I'll be back again"? That being said, Forte actually does a decent job with the beginning of the song and he had my head nodding for a bit, but the track loses steam mid-way through. Partially, the production itself isn't very remarkable, but moreover, Pras comes in and dulls the track down to a stub, doing a damn close imitation of Puff Daddy's flow style. Scary.
Following up their strong debut single, Shadez decide to resurrect the beat from "I'm Still #1" which doesn't win points for originality, but the beat still rocks which is a testament to how long it's stayed effective over the years. Unfortunately, the liabilities in rhyme flow that I was able to forgive on "Changes" became too much for me to overlook. Much of "Calm Unda Pressure" is over-rhymed. However, the B-side commits the worse sin of just being fairly typical. It sounded more like an A-side...more use of R&B and what not, but regardless, it wasn't a very interesting song.
So it's taken me a while to get around to this 12", and in all candidness, the hype was done just a little much. However, the A-side, "Vowel Movement" is a very strong lyrical display...a concept single, sure, but effective and enjoyable. My money's on the original mix...a simple guitar loop which doesn't overproduce the track unlike the remix which competes with the lyrics for attention. The Danja Mowf cut gets points for attempt, but I wasn't feeling that hook, which is prominent in the song. Plus, his "keeping hip hop real" attitude comes off way too didactic after a while.
Wish I could say something more than...typical. Ordinary. Average. You want more? Not on this 12". Just one last question..."Escape from Belize"...how many folks can find Belize on a map, let alone write a rhyme about it?
A peer of mine says he'd never want to hear Jay Z and OC on the same track...I won't go as far to say that (I actually like Jay Z...so hold it against me) but admittedly, this cut sounds about two-thirds too full. OC starts and when his verses end, there's not much else to really check for, including the label artist (not a good sign). It's on Profile promo right now so I'm guessing they're testing the waters. My read: luke warm 'cept for the OC cameo.
Everyone ready for this? Hope so, because Wu Tang's first single from the new album is loooong...clocking over five minutes and featuring every Wu member, plus their fifth cousins (or so it sounds). Ok, so I'm exaggereating a bit, but this cut has no hook or chorus...it just flips from Wu to Wu. I don't remember the full roll call but...I can say this much: Rza's beat is good (you expected anything different?), Dek comes OFF as the first rhymer, U God does NOT, and Genius adds an afterthought that is otherwise forgettable.
Is there no stopping the Fugees juggernaut? If I see the words "Refugee Camp All-Stars" one more time, I'm due to start going into convulsions. Ah, but don't get me wrong...I ain't hatin' on Fugees (I just think their crew name is pretentious). This new cut from Wyclef has the musically interesting/lyrically disinteresting combo that I've kind of come to expect from most R.C.A.S. projects of late. Wyclef is an underrated producer, I challenge anyone to disagree, but this cut is fairly novelty in my opinion. Enjoyable, but I'm not sure where to go after that.