Their last single came out over a year ago, but the wait was worth it. "Chemistry" is my favorite joint on this 3 cut 12"...basically, a hip hop tribute piece to the magic and wonders of good chemistry between artists. Starting with the sample of "a good combination", the Abs run down who some of their favorites are over a vibed out track. Nice stuff. QNA, on the B-side, is produced by Fingatip and features Mike Zoott...a good, very bassline heavy song. But ayo...how come I've heard the phrase "Common Sense" and "soul by the pound" used twice in recent songs? Compostions begins with a mellow flute track but kills it for a less-likeable beat that sounds hollow (literally)...wisely, they bring the flute track back in the refrains, along with a good hook. A very strong 12" from the Aboriginals, look for it.
The main reason heads will check for this single is because Organized Konfusion are featured on the remix by the same name. It's a good pair of verses from Po and Monche but it ends fairly soon, leaving us with the rather unspiring singing that closes out the longer remainder of "Tender". The jungle remix on the B...I skipped. At the cost of around $8 (since it's an import), I think on die-hard O.K. fans will want to shell out the green backs to get with this.
Ya know, I was never a big Boogiemonsters fan. Maybe I was snoozing like Rip Van, but while I thought they had some nice stuff with that "duh nah nah" bit from "Recognized Thresholds", I only picked up their FIRST LP just the other day. Now that they're coming back, half as large, mad heads have been requesting their new ish on the radio show so I had to take a listen to myself. And ya know what? I still don't know what the big deal is. I liked "God Sound"...good production and what not, but "The Beginning of the End" ended at the beginning for me and lyrically, I'm not sure what the big bru ha ha is all about. It's a good single, worth listening to, but until further spins, I can't say much more than that.
Drum breaks by Fanatic and Friz-B. It's really for producers and maybe the occassional DJ. I liked it (used one o' the beats on my mix tape intro), but this is definitely more of a specialty record than something for everybody and anybody.
When Bored Stiff released their first EP (vinyl) back in 1994, "Explainin'", it was a great, creative piece of SF underground work. Creative lyrics and production brough a fresh perspective to a scene that was getting overly represented by the S.F. sound of G-funk-ish beats and similar verbals. Three years down the line, the Stiff have lost a member to street violence and another one is doing time, but they've persevered to put out a new EP, ambitiously entitled, "Timeless". The same peeps are still here, most importantly, TD on the boards who's the big reason why I liked the first EP. Unfortunately, out of the four or so full length cuts, I was disappointed with most of them. Ironically, the best beats were on the beat-only bonus tracks, short one-two minute "extras". Of the full songs, I thought they weren't all that interesting musically and lyrically, the content is nice, but their flows need strong beats to buoy them. Now, lest you think I didn't bother to listen to the lyrics (being the beat-head that I am)...those were still good...very earnest, creative and self-aware lyrics about the wackness of the industry, about mediocore hip hop, about life and its various struggles. Kwaze provides some verses from the jail cell, dropping a dime on the pay phone to call in some lyrics. And in general, it's still refreshing stuff, yet doesn't quite hit me as outstanding. Left Coast creativity has stepped up, most specifically with all the seismic activity rumbing through the South Bay with Peanut Butter's camp on Stonesthrow. Given that competition, "Timeless" has merit, but alas, also sounds a little dated.
His promotional photos remind me of what David Austin Green might look like if he got really drunk and decided to imitate Pinhead (or Chino XL). He's a clean cut looking white guy with toothpicks sticking out his mouth. Yeah...okay then... Supposedly, he's bring horrorcore back to hip hop, but given that he's got the backing of Bobbito's Fondle 'Em label, you figure that it can't be all that bad. And it's not. Necro comes with some decent proudction, mostly on "Radiohead" which has this quirky, carnival-esque beat. "Agent Orange" has gotten more props for its lyrics but I wasn't feeling the production as much. Supposedly, this kid's getting mad love out in the NYC. If you'd like to get burnt off the Agent Orange, it might be worth your time to give hip hop's new acolyte of psychopathic slangiotics.
It says Kid Capri, but it's really Run from Run DMC (or should I say "Reverand Run"?). The remix itself is hardly ambitious production, it's just a recycling of "Beats to the Rhyme", but it sounds good, don't it? G Suede and Sonny Chee work well over the beat, making the idea of "Black Nostaljack" all the more relevant. Camp Lo's been getting some flak...Ego Trp ripped them on being abstract without any real content (slanguistics for the sake of slanguistics basically) and other fans are kind of getting bored by the same style again and again, but I have to say that what the Lo do, they do well and this 12" is further proof of it. I have yet, really, to hear a boring single from them yet.
(See album review for: Company Flow: Funcrrusher Plus)
That's not really the title of this promo-only EP from Mercury, but it works since they're re-releasing five of Diamond's most buttery songs from "Stunts, Blunts and Hip Hop": "Best Kept Secret, Sally's Got a One Track Mind, Freestyle, You Can't Front, and Check 1,2". I don't need to tell you that this EP is the sh*t...consider this review an open call for crate diggers to start hitting the used record stores to find this gem on a promo, all in time to pump the new Diamond LP due out in the Fall.
Is ABB signing up all the folks who were on Immortal Records' "The Next Chapter" compilation? First Defari, now, after a stint in the unsigned hype files of the LA underground, Rucka and Evidenca, aka Dilated Peoples are set to open up eyes and ears with a strong, three cut 12". Labelmate Defari makes a cameo appearance on the vicious "Third Degree" while the Alchemist drops in from the Soul Assassins to brew up a pair of beats with Evidence bringing up the rear on "Global Dynamics". As the indie scene on the Left continues to expand, Dilated Peoples are bringing the funk that gets the red IN. ABB is doing well for itself on the Left side underground which has been fairly silent (except for Solesides) over the last half year while NY labels like Fondle 'Em and Rawkus can't seem to stop dropping new sh*t. Keep it coming.
Remember these bros? They had that single on the New Jersey Drive soundtrack, but after that, kind of dropped out for a bit. Now they're back, albeit, two years later, with a decent single, but nothing too striking. The B-side "Harlemites" uses the same beat that Dre freaked on "Sippin on Tanquery". The A-side flips the jazzy style that made their soundtrack song memorable, but neither side comes with lyrics that kill the session.
When I first heard this, I knwe Chi-town had a good single on their hands. Produced by the busy Molemen, "Taste of Chicago" features a simple, but effective beat made strictly for head-nodders. EC and Rubberoom both come in with a good tag team of lyricism...in fact, I like this one song better than the whole Rubberrom 12" that came out recently (no disrespect). The B-side is probably worth talkig about...featuring Percee and Rhymefest, but you know, I never got around to listening to it...that needle just wouldn't get off that A-side.
Bouncing beats that clock onto the Richter scale, Fanatik's had a full plate lately, balancing production work for at least three different labels, but his big project has been his "Seismic Activity" LP. It's basically an updated, import version of "Fanatik Beats" which came out about a year back, with some new cuts. From this new LP, he's released a twin 12" set: "Seismology Parts 1 & 2." Not that you have much of a choice, since they're sold as a double 12", but Part 1 is pretty much throwaway. The only rhyme song worth peeping is "Home Improvement" by EBF aka Rasta Cue Tip which is over Fanatik's popular "Q Vibe" beat, however, EBF's flow still needs some tweaking before it's gonna meet with what we're hearing from folks like Rasco.
Nary I speak a negative word, but I havne't felt a lot of what Don has done, including Cenubites but this newest single on Hydra might encourage me to reconsider. "Place of the Action" almost sounds like a typical A-side...kind of cross-over, but not that bad of an offender. The Gangstarr sample (taken from "Dwyck") at the beginning is good, but then the track gets a little more commercial. It's really the flip side that makes this 12" ill though. With a name like "Seeds of Hate", you figure Don's gonna come through to bruise a few MCs and both track and lyricist pull off the caper.
The Grouch is out of the Mystik Journeymen camp, meaning that he's probably unsigned and hella broke too. I haven't had a chance to take too many spins, but so far it sounds like what you'd expect from a record coming out of the Oakland underground (which tends to be long on ambition but short on fatness). I'm not trying to hate on projects close to home, but I've heard plenty of indie efforts to know that producers can do more with less, and so can MCs too. Still, as a document for the Bay's growing underground, there's also a fair amount to like on this LP as well. Worth peeping.
Yet another Tri-State effort...likeable thanks to decent lyricism and good production. "Da Professional" has this ill little guitar/bass combo that is simple but sinister. I liked the B-side better, musically....drawn in by the more sophisticated bassline, horns and piano arrangements. Lyrically...it's ok, but not remarkable. Worth checking for.
Heather B meets Too Short on this semi-white label (there's no title given...'sup with that?) by reworking one of the Short Dog's old classics. 'Cept, instead of Short's O-town, laid back flow, we've gotten Heather "Glocks Down" B. raising up hell as she does so well. Heather B fans can get with this, and even folks on the Left might enjoy the coastal mix of stylizing.
I'll be candid, the only real reason I picked up the LP was b/c What What (from Natural Resource) was featured twice (plus a third, uncredited appearance, in her poetical state). After getting gassed off of "New + Improved" I was willing to risk the import cost to check this LP out. Overall, I wasn't majorly jazzed, but nor was I disappointed either. The entire LP is decent...maybe even a tad more accessible than Krush's "Meiso" album, but it wasn't either as interesting as Shadow's "Entroducing" nor banging with bad ass hip hop joints as most heads might want. What What's contributions are good, but not "must have", with "Bring It" being the better of the pair. Slow groove wtih dusty samples, giving way to What What's ill chill flow. "The Blend", as the album cut, wasn't really produced all that well, but maybe that's why Herbaliser made it his newest 12" release, with remixes from Cuban and my main man, Peanut Butter Wolf, plus the Herbaliser himself. The other remixes are ok, but Peanut's the one to turn too, where he throws down a noisey, jazzy beat that takes the song up a couple of tempo notches in feel from the original. Personally, if you have to plunk down your 8 bucks for an import single, I'd still recommend "New + Improved" first but "The Blend" remixes wouldn't be a bad addition to the family either, especially with What What lacing it all up kinda nice nice.
Jam Dot, aka Jam has gotten around without ever leaving the under. He's already had one single out by himself, then he hooked up with the year-old "Survival Series" project and has now added "dot" to his name and is still keeping on the under with his. Perhaps the reason we don't hear more from him is because his lyrics are fairly unremarkable. There's litle that really sticks to the ears, which is one reaosn why the music tends to be like honey for that reason.
Even though I think Spinna's got great production skills - just witness his remix work or beats for Mr. Complex - I hadn't really felt the Jigmastas first two singles. However, this latest 12" is encouraging me to make some serious reconsiderations, dropping a dope remix of "Iz You Dee" and coming nice with "Chandon".
I've been hearing some noise on Kamakazee but this is the first time I've been able to actualy listen to the artist himself. Produced by Marley Marl, the single has good production...the A-side is on the rough and rugged tip, the B-side a little more jazzy. Lyrically, no surprises here, but likeable efforts on both sides. "Snakes" is a little weaker if only for its gun clap pretentions, plus, Grav already did that concept not so long ago. The B-side has a good hook that should be well with the Tri-State heads.
Lyrically, the content is good (anti-gun), the lyrics so-so and the production decent. Premier does the music but honestly, had his name not been on there, I don't think most fools could have told. All in all, it's a respectable effort, a good single, but not very remarkable despite the confluence of Primo with an unusually positive message.
A nice, five track EP/12" that, like the Mike Zoot double 12" (see below) is targeted for Japanese sales only. It's not as indispensable as the Mike Zoot, mostly b/c I dont' find Lace Da Booms to be all that special, even though I did like, "Cut That Weak Sh*t". As any MC, he's ok, but doesn't really distinguish himself from a dozen other rough n' ready MCs I can think of. Production is good, but again, not quite as dope as the Mike Zoot. If you can only blow your cash on one, go with Zoot, but you wouldn't be making a mistake to shell out some extra for Lace as well.
The A-side is the one to bump, featuring Boston's Ed O.G. and with a musical track that keep reminding me of Defari's "Change and Switch" (not that any ya'll really cared to know that). It's got a nice groove to it and works well in the mix. The B-side isn't much to yap at though...sounding like some typical "I'm hard" blase blah.
I admit...I've had a hard time getting into these kids...I really didn't feel their CD, or even the advance cassette I got sent...but this single sort of had me open. Unfortunately, it's still not the group itself, though I think I've appreciated them more on this 12" than previous efforts. The production is what's most engaging though. Even with three different producers, they make a consistent sound across the different mixes of each song (plus, they're clearly engineered well which makes a big difference in a day where sloppy sound quality is mistakenly thought to be a sign of authenticity).
A dope single that snuck up out of nowhere. Intelligent lyrics, good hooks and strong production (check the beat box drum track on "Life To the MC"). Though the production is friendlier on the A, "Under Pressure" comes with the tighter lyrical effort, though both have to do with the same topic of mic superiority (but not overbearing braggadocio). Don't know much about these kids, but I do know a good single when I hear one.
The B-side is tight...kicking things off with a sample of the old Special Ed declaring, "I'm talented, yes I'm gifted" and then shiffting into a good set of music and lyrics. The A-side however, is an over-ambitious attempt at trying to come with that super scientifical next sh*t, trying to merge a space-y track with high concept lyrics, but really getting too far on my dopeness meter. Trying to traverse space and time in rhyme is respectable, but I'm always partial to staying close to the roots, ya know?
The label says MF Doom, but the voice and flow reveals the return of Zev Luv X, formely of KMD. I gotta say, it's good to hear from the X once again...KMD went thru a ton of hell, from Subroc's death to the "Black Bastards" LP getting buried by the label. Re-emerging on Bobbito's Fondle 'Em, X/Doom makes a welcome return, showing that his turbulent past hasn't detracted that much from his abstracted abilities. All three cuts are unconventional, with X seemingly following phantom tangents yet always teasing us with his talent. Unlike Lord Sear, who's freestyles border on nonsense, X is like a verbal virtuoso, able to control the song with a flick of the tongue. Musically, "Gas Drawls" was an easy favorite with a jazzy, vibe quality to it, but don't sleep on the ill beats with "Dead Bent". It's good to see Zev Luv X back up in here in 97...pick this sh*t up.
One of the best releases you'll never hear this year. Signed to an exclusive Japanese distribution deal, this double 12" (seven tracks, all with instrumentals) will NOT be coming to a record store near you, which is a damn shame b/c there's a helluva lot to like. Mike Zoot has already proven himself to be an able MC with "Service" and "High Drama", but he really shows his stuff across the seven cuts on this project. Moreover, he's got one bad ass back-up squad behind him, including DJ Spinna, Mayhem, Shawn J. Period, Buckwild and Showbiz (who turns in yet another dope track...Show is in the zone right now). Sandbox (sandbox.pair.com) has a limited selection available so get your cyber-asses over there. This double 12" is one for the crates and like custom plates from the Franklin Mint, once they gone, they gone fools.
As the first shot in a wave of Zoot 12"s set to rain upon us during this summer, this single features two remixes and the re-release (sans annoying skip) of "Service". The remix of "Service", by Mayhem, pulls no punches, coming as rough as the original, though not necessarily being a vast improvement on it. The "High Drama" remix, by Shawn J Period is good, and very different than the original. It's hard to say which is better b/c they make the song into two distinct beasts entirely. Presonally, I like the remix by it's easier to mix in, but the down home feel to the original is hard to mess with as well. Whichever you decide though, Mike Zoot fans will like this 12". Believe that.
If nothing else can be said about Mos Def, you gotta give him some love for his persistence. After first bringing his distinctive voice and flow to hip hop in the form of UTD, Mos Def saw his freshman effort wasted on two promos and little label support. Undaunted, he brought himself back with a cameo on Da Bush Babees' popular, "Love Song" and then came monster large on two De La Soul songs, never a bad place to get your start (just ask Black Sheep). After doing a couple of songs with Mike Zoot, Mos Def is finally about to come out with his very own project, done on Rawkus Records. The A-side gives 'nuff love to the old school with the song's long drum break intro that sound-shifts into a vibe-y affair hosted by producer Shawn J. Period. The B-side (also by Shawn) is equally butter and imaginative with Mos Def doing his nasally best to keep the flow going on both sides. Some how, I keep thinking that we should try to get Mos Def and Young Zee on a record together. Whatcha think?
The NBA white label I mentioned a couple of months back had the "original" version of this mix tape track featuring just Nas. The remix uses the same beat but engineers it all a litle better and throws in his peers from the QBC, including CNN and Khadafi (Tragedy).
After putting out what was unarguably one of the best releases in 1996 with "Negro League Baseball", Natural Resource has their second single on tap for late June. I talk a little more about their plans in the latest (June issue) Notes on the Run so I'll just speak upon this new single for now. "I Love This World" features Overtime aka OT on the breaks, Ocean and What What on the mic. No doubt, What What comes right and exact and Ocean knows where's it at as well. Overall, I think Ocean has good lyrics in terms of content and attitude, it's just that his flow still needs a little more work. What What...I dunno, maybe it's the whole thing about her being one of the few, notable female MCs...but I get gassed off hearing her drop her words andphrases. Butter like popcorn. Production on this song is ok...it's a little subtle and doesn't quite grab you as much as the other tracks on this single, however, it grows you on. The main liability with "I Love This World" is the chorus/hook. Sung by DJ Aggi (N.R.'s DJ), it's supposed to sound really passionate and heart-felt, but to me, it sounded hokey and a little more than annoying. I heard that, when done live, it comes off well, which may be the case, but on record, it doesn't do it for me at all. I hope, for the sake of the single, that it's just me who finds the hook a little unbearable since the song starts with eight bars of it. That being said, the other two remixes pack flavor like a candy store. Neither song is a 100% remix in terms of lyrics, but nor are they old acapellas set to new music. No, no, no, Natural Resource gives the people a new take on their songs from the last single. Th e"Bum Deal" remix gets my nod for the best song on the single with a new, very simple, but very effective beat made up a four bar piano loop, played slow and in step with the 4/4 beat, plus the drum track. What Ocean and What What do is switch lyrics...instead of What What starting off with, "I drop my style like this...", it's Ocean who does What What's original lyrics and vice versa. A very interesting listen that I found enjoyable. The "They Lied" remix changes up the original beat while still maintaining some of its original components...basically, it just expands on the original concept. Ocean comes with slightly new lyrics, it's a mix of the old ones plus quick changes, not totally unlike what Casual did way back on his remix of "That's How It Is". I wanted to hear more What What (but I always want to hear more What What), but I'll wait for the next single I guess. This is definitely a single worth checking for.
If you don't have this yet, good luck. Only 1,500 were made, and of those, only 800 were sold, mostly in NYC. It's a shame that Non-Phixion, a group that has yet to really strike hard, didn't push this remix more b/c...it's kind of nice. The beat is slamming, all key chords and reverb, a much better reworking of the song. All in all, it would have been a decently hot single, but alas, limited production numbers means that a scramble is on to snatch up the last couple of copies. Check the Sandbox for availability.
If ever there were MCs born with silver mics in their mouths, Pharaoh Monche and Prince Poetry were so blessed. With their third LP on the way, their lead-off single, is just that type of song to get fans silly with anticipation. Tossing around numbers like dice in a c-lo game, Organized gets digit-ally conceptual. No worries though, this isn't today's mathematics, this is some old school numerology, as in "furious, mysterious, the treacherous three, we be the awesome two most definitely." Anyway you add it up, OK's about to bring it on for the 9 7. What's especially noteworthy is that this single's the most accessible song from Organized that I've heard in quite a while, yet it doesn't sound commercial. A good strategic move on the part of some of hip hop's most slept on.
I picked this single up mostly on the strength of its A-side...mad jazzy...with some likeable lyrics. I'm still going to stick by "More Emotion" for those qualities, but "Long Dayz" was a weird, and not so enjoyable contrast as Paul Ray suddenly sounds like a character in a bad Abel Ferrara movie. Nice to know you can come with more than one style, but thedifference is mad disjointed and seems more fake than real.
For those a little underwhelmed by "Sho Shot", snap up this single and hyped all again for Rage. Not since "Afro Puffs" has the Lady of Rage come in with such lyrical fury. She produces her own song and DJ Premier (?!) helps mix it down to sharpen the snapping drum kicks. There's also a remix on the single, but you gotta stick with rocking the original for some true funk fury.
A good effort by some folks who've already been making some moves on the indie tip. Rebel Alliance is actually a loose confederation of several groups, most notably the group formerly known as God Complex: 7L and Esoteric. There's also the Architects of Intellect, who's producer, Truth Elemental, is one of the main forces behind this project. Of the ten tracks on the album, most are good, innovative songs that are trying to push the hip hop envelope. My favorites include "Protocol Holocron" by 7L and Esoteric, which just has a nice vibe to it. Another is everyone's favorite, the Transformer-influenced "Be Alert" which rocks like Optimus in his Prime. Definitely something worth checking out.
Are we still checking for this kid? Blunt and Flush really managed to kill a good vibe by stalling the album inevitably, burying "Rotten Apple" over sample clearance problems, and then limiting any hype on "Iced Down Medallions" because of a hold up with getting Capone's presence on this track approved. Was it worth the wait? Can it take the weight? Eh...not really. It's not a bad cut, but isn't as likeable as "Rotten Apple" and definitely light years behind Flush's finest moment with "Worldwide". I think it's mostly just good to get people ready for the new album, "Ghetto Millionaire". Don't know who did production, but it's horn-heavy...decent, but not memorable. Capone just kicks the chorus - "sipping Cristical by the gallon" - obviously, some Big Willie bullsh*t that we've come to detest from these cats. Worth listening to, but I have my eyes on the album more than anything else right now.
While the name of the band seemed a little too over the top to me, I peeped RNS' tag on the B-side production credits and I figured it had to be worth a listen. RNS, who supposedly trained Rza, is rarely heard of nowadays (unless Shyheim resurrects his career) which seems odd since he's got a knack for good beats. This single is essentially the same ol' gun clap crap with good beats, which I can live with as a compromise in this case though I do think that "Ruthless Bastards" was such a Mobb Deep bite that Havoc and Progidy should check for teeth marks.
Though his songs seem to have a strong Mobb Deep influence (that's not a dis), Shamus represents the BK souffle vs. the QB cherry (this is what too much Camp Lo can do to your brain). While his projects have lacked flashy, pizzazz, Shamus has quietly been putting out a string of strong songs, culminating with this five cut EP on Raw Track (not Shack, Track) Records. Already featured is his slept-on single with Flu, produced by Buckwild, "Tight Team", a most that engages you before you recognize it.
"We Trying to Stay Alive" sounds a lot like Wyclef trying to pull off a classier version of Bad Boy/Trakmasterz type production. Like both of the latter's better efforts, Wyclef chooses a familiar sample (in this case, disco hit "Staying Alive" by the Bee Gees) and works it well (expect this one to do well in clubs). Wy, Forte and Pras do the Fugees Boy's Club thing with so so lyrics that are alarmingly reflecting some of the same material pre-occupations that "The Score" was supposed to be targetting against. The B-side is much better in terms of creativity and with rock-crits tripping over themselves to find new platitudes to shower on Wy's "Carnival" album, this B is hopefully the type of flavor they're speaking upon.
Above average. Following up his decently successful 12", "The Obvious Joint", this new 12" really isn't that great, despite having four tracks to work with. Production on all but "Everybody" seemed rather bland, but moreover, Adagio's lyrical limitations manifest themselves on cliche songs like "My Girl" (his way of making up for "Ass and Benefits").
Above average. I like the production...funky guitar lick which sounds off-beat until the drum cracks come in on the break. Unfortunately, with a name like Buddah Tye (gee...was Whyte Awwul already taken?) and a song titled like "Money Matters" you can expect the same 'ol, same 'ol. Stick with the instrumental kids.
Above average. Apparently Bobbitto thought this single was good enough to put other heads onto - only after the single had sold out. The four cut 12"/EP was ok to my ears...some decent stuff on there, but I'll need more listens to really say if this should go down as a slept on rarity. Right now, it's popping like a firecracker, but not exactly blowing up like C4.
Average. Candy Store's last single was pretty much recycled blandless. This is marginally better, but it's a thin margin.
Above average. My man Mercer says that, outside of the Boogie Down Bronx, these two singles are only available at Rock N' Soul in New York (W35th and 7th Ave), which is pretty damn limited for distribution. Sleeper hits of the year? Not really, but not bad stuff either from these kids up in the BX. "A Star Is Born" was using the same beat that prety have heard on Tupac and, more popularly, on Blackstreet's "Don't Leave Me", but the Chldren had that going on at least six months before either Blackstreet or 'Pac were freaking it. Their latest single also uses another familiar beat on "American Dream"...not exactly a good record of originality, but it's a decent, perhaps even above average hip hop effort. Worth checking.
Average. Why Stretch passed up the Charlamagne remix, I'll never know. DJ Clue's remix of "T.O.N.Y." sounds ok, but yo, the Beatminerz used the same beat for the Roots remix of "Silent Treatment" and Premier hooked it up for GangStarr back in the day. Oh yeah, even RBX used it. Why bring it back again? Maybe it seems fitting for CNN, a group that I think has taken many of the cliches embedded in NYC-street soldier rap and metaphorized them to a ridiculous level. The rest of this "mix tape single" is annoying shout-outs by DJ Clue with snippets from CNN's lackluster LP.
Above average. Eclipse 427 (I'll just call him Eclipse. Try not to confuse ya'selves) is one of Oakland's better underground producers, having put out his own tapes on the low and working with kids like The Grouch (see below) and other Oak-town cipherites. His past work was nice so I looked forward to the new sh*t, but this single left me kind of unmoved. Mostly, the production on "Power" and its remix, both seemed run-of-the-mill, especially for something coming out of the O. Moreover, the hook in the chorus refrain didn't work well for me either. Only "Next Question" caught my ear, both b/c of the beat and Eclipse's strong lyrical showing.
Average. The second time around, Group Home, dumps the tight, jazzy production of "East NY Theory", adds the Nutcracker, and comes off with a pretty boring white label. Production is definitely not from the Works of Mart, and the weaknesses in both Melachi and Lil' Dap's rhymes are more noticeable as a result. I'm not sure what Group Home is looking to accomplish with these white labels, but they'll have to do better to really keep the hype alive.
Below Average. Surprising since his last single was nicer. I can't much to say about this at all 'cept that I decided against picking it up.
Barely Average. Sure Shot misses the target once again. Compare these stats and tell me if something seems amiss to you. Sure Shot has put out five singles so far, including one by (not so) Special Ed. Those five singles, combined, haven't been able to outsell J-Live's output (two singles) on Raw Shack. That should tell you something about how bland Sure Shot's offerings have been. As I said before, sure not.
Average. What looked like a good line-up and a good concept (safe sex) turns a tad ugly in the tradition of "Nasty Hoes" and "No Rubber, No Backstage Pass". In the era of AIDS, the enemy is not pu**y, you morons...it's ignorance, which is largely what these four were kicking on mic. A good cause is no excuse for sexist stupidity and I just couldn't stomach listening to this crap more than once.
Below Average. The cameo by Def Jam-has-been Trigga and Smoothe the Hustla, on the B-side, makes this worth taking a test listen to, but I can't say I was jazzed enough to take it home just yet.
Below Average (for OC). Far from dope. Sorry, but both OC and Buckwild get the lost, but not forgotten, gas face for this all-too-obvious commercial single. Ok, Payday deserves the g.f. too for pushing OC into this, but regardless, I gotta call a wack single out even if it's from the talented duo of OC and Buck. It's certainly not a horrible song all-together, but it's a far cry from "My World" and a blatantly conspicious attempt at trying for a "hit" single. Swing! And a miss.
Below Average. The "Juice" is back and I ain't talking about OJ. Oran "Juice" Jones, who's classic, "The Rain" is still one of my all time Ollie-berry classics - "tricks ain't for kid...you're just a squirrel, trying to get a nut" - but somehow, Tommy Boy's investment in the Juice should have been backed up a little tighter than with just a Clark Kent remix. Let's face it, Clark Kent's production, overall (there are always exceptions of course) has been about as popular as "The Adventures of Lois and Clark" have been on ABC. Kent's work seems horribly dated, and sometimes, a much weaker attempt to duplicate the same kind of party vibe that Bad Boy and Wackmasterz have perfected. Camp Lo do a throwaway cameo which both works for Jones, since he is a slice of black nostal"jack" coming back from the past, but it's also bad b/c it dates Jones more than what I think is wise for an artist trying to make a comeback. Besides, the R&B word has really outpaced Jones in just the last couple of years, thanks to cats like Maxwell and especially D'Angelo. Don't call it a comeback.
Average. Skip the A-side entirely. The B is ok, but nothing that I felt hyped on.
Above average. Bad name and wack pictures of the two kids in this goofy ass face paint. Halloween's in October ya'll, let's not get too out of control in only June. The "Madd Luv" remix was the only track I really liked, and lyrically, these two are Mobb Deep/CNN clones if you ever saw 'em.
Average. "Maintain" has a decent beat, but I wasn't feeling most of this single.
Average. Plus, it's a bit older anyway so you'll not be missing out on much if this single isn't gracing your crate.
Barely average. If it's not abundantly obvious in my past reviews, I was tired of the whole war-related persona in hip hop before this sh*t ever got started. Blame Mobb Deep for helping spark this sh*t, but it's CNN and Khadafi who've taken it to ridiculous levels. If you want to make some deep ass analogies to street warfare, I'm just not convinced that naming yourself after Khadafi makes any kind of sense. How much longer should we wait until Hitler, Mussolini, Sadam and friends get their shot? Oh yeah, the single, forgot about that.
Wack As Hell. As if his death wasn't bad enough, his wake on wax is banal enough to create even more fatalities. Perhaps in grief, Puffy finds a new low to sink to his with horribly campy "I'll Be Missing You". It makes a small joke of the whole 12" to base the song off the all-too-familiar basslines from the Police's "Every Breath You Take". Last time I heard, lab reports suggest the song is so sugary that it causes apolectic seizures in rats. The B-side is a little better, but all in all, I'd rather honor BIG by blasting "Machine Gun Funk".