De La Soul: Stakes is High
I slept on this EP the first time through, I suspect it might be b/c I flipped onto the B-side only...should've started at the beginning for the fat sh*t. The A-side is a nice combo of well-produced and rhymed tracks, "Just Enuff" and "Why?". Lux's flow is good, and his content gets high marks on the A. The flip side tends to drop into some less original and more mediocore sh*t, but half a fat EP is "just enuff" for me. (NO FRONT INC)
One of only several hundred 12"s that Capitol sent out, this 12" contains three winners from the "Mic Check" remix contest, plus the Aceyalone remix of his own song. The Calistonics remix (done by Acey) itself is funny as hell, but alas, what sounds like the track is only an intro into the LP version. The first place winner, by Kemo is definitely some dope sh*t, flipping some European classical music loops (I can't remember the name of the song, but ya'll have heard it before, trust me). The Lakeside remix is some old-school sh*t, sounding on the rawer side, nice too. The Labrats remix has a simple, fly bassline and scratch/samples that spice it up. All three remixes are tight IMO...it's too bad artists don't do this sh*t more often instead of hiring big name producers who we always hear from. (CAPITOL)
The late Charizma is resurrected thanks to Peanut Butter's dedication to make sure his partner gets his due. This 12" is some 4 track, raw sounding sh*t, but it's tight. World Premier smacks with a dirty drum loop and Charizma's spit-shot lyrical barrage. On the flipside, Methods has the groovier beats that Peanut's been dropping lately, good lyrics as well. My sweet spot is hit with a remix of World Premier, new lyrics and a track that's minimalistic to the score, but dope enough to rock it. Support indie hip hop...and give Charizma his belated love. (WHITE LABEL)
Ok, so Kutmasta Kurt finally serves up a Chino track with some commercial appeal. Unfortunately, it's the wrong song. Begin with Chino's attempt at singing a chorus which can hardly be called too infectous, "I'm a creep, I'm a loser". Yeah, that's the sh*t I wanna be sayin' walking down the street with my walkman. Second, the song itself is weak compared to better sh*t with hella better lyrics. I really can't feel where this single is supposed to appeal to, women probably won't dig it, and most male heads want some "Riot" type sh*t, not this. This is the third single in less than half a year...can't be a good sign for Chino (or American Records) and if they're looking for a savior 12",...sorry, but this ain't it. (AMERICAN)
Even though the lyrics still flip the same Spanglish stylees that folks like LSOB have offered in the past, I dig the Latin beats...there's a lot of rich musical crates to dig through in that area which not enough producers have gotten to. The Cubanao remix is an example of that, funky and bouncy...I'd rock it at a party, no diggety. (LOUD/PMP)
The Beatnuts and Fat Joe drops some verses for Japan's most hip hop friendly producer (yes, even more than Krush). The track itself works well...chaotic but grounded in a simple drum loop. 'Course, I'm curious of what the Beatnuts would've done with their own track. The chorus needs to go with a quickness though. All in all, decent sh*t, but nothing to go ga ga over...in fact, it sounds like a typical NY posse cut. The B-side is supposed to rock it Far East style, but once again, Honda proves to have the ability to serve up the same track as most other NY producers with his eerie and familiar bass-lined beat. All in all, it's not bad, but just not hella impressive for a second chance at a debut. (RELATIVITY)
Fresh off of his Cenubites duet with Kool Keith, Godfather's new 12" on Hydra has its moments, but just barely. The A-side sounds typically guns and funds NYC to me, nothing interesting. World Premier is a little better, at least the beat is better, and I think Don's got a strong flow, but I still couldn't get too deep into this track (hmm...I wonder if the Beatnuts produced, sounds like it could've been them). The last track is the best beat-wise...an ill piano loop and high hat heavy drums is definitely on some head nod tip. It here were Don's lyrics stand up though him and Trigga might have to battle it out for flow-style. (HYDRA)
Not that I don't think Organized Noize is talented, but I wasn't really down with a lot of GM's album...I'm just not into that soulful funk production...however this 12" seems to combine two of the more beat-oriented tracks on the LP. I think Goodie Mobb fans will dig, but more than than, I think this 12" could reach other snare & kick heads like myself. (LA FACE)
No doubt...the Grant Green track, remixed by the Ummah (Q-Tip and Ali Shaheed) with vocals by Dianne Reeves is the best sh*t on Blue Note's "The New Groove: Blue Note Remix Project Vol 1". Buttery and then some. This 12" version adds an additional drum track, which, while good, didn't seem necessary to me. Nonetheless, this track is just NICE, trust me. The B-side, remixed by Michael Franti will probably appear to Spearhead fans...not bad, but my needle can't seem find its way to the B-side yet. (BLUE NOTE)
BOOM. This four track EP sampler from the soundtrack of "High School High" is where it's at. First off, there's Pete Rock and Large Professor's track "The Rap World". Though the chorus is the same that Akafella has on "In the World", this track is most definitely a Pete Rock and Large Professor effort. The beats have the Soul Brother's touch and lyrcially, both rhymers represent well.
Next up is the Wu Tang collaboration of Inspectah Dek and U God on "Semi-Automatic Full Rap Metal Jacket". Personally, I thought RZA's production on this track was tight, chaotic, but not as noisy as his other stuff. Lyrically, I'm not really tripping...maybe 'cause I've been hella Wu Tang-ed out over the last couple of months.
On the B-side, KRS One's "High School High" was good medicine for an audience sickened by his Nike promos and some less-than-exciting offerings on his Front Page label. Classic Blastmaster sh*t, no doubt, no doubt.
Ok, finally, there's the track by E 40 and Spice 1: "Why You Wanna Funk" and hell, I even liked this cut. True to the name, the track is layered in a bouncy funk and even though tiring of the Mailman's flow can boune, rock and skate to the beat instead. The real mystery in this EP is how come Atlantic isn't releasing it commercially...opting instead for the weaker 12" of "Wu Wear" and Real Live's "Get Down Like That." (BIGBEAT/ATLANTIC)
I have yet to figure out why people like the Lost Boyz. This single doesn't really bring me closer to an understanding, but the familiar bass loop is enough for me to warrant keeping it, if only to bump at parties. Unfortunately, I can't really find much more to really laud about it. (UNIVERSAL)
Let's cut to it...the DJ Spinna remix is some smoooooooooth sh*t. I normally don't dig MC Eiht, but this remix wouldn't let me ignore it...it totally gives Eiht a totally different feel, not unsimiliar to the remix on the B-side of Kool G's "Fast Life" Norfstar remix. Nice sh*t. (EPIC)
I understand Front Page is street level sh*t, but even then...I've heard 4 track demos that sounded better. These Boss wanna-bes (who'd want to be Boss to begin with?) make me wonder what KRS is exactly trying to accomplish with his label. (FRONT PAGE)
Money B's new project feats. an R&B remake of his classic pairing with Shock G, "Freaks of the Industry". Nothing mind blowing, but it'll play well at parties, fo sho. The b-side with Clee isn't much to bounce to...sounds a lot like D.U.'s new LP...musically lush, but not much for heads to bump to. The unreleased duo with NumNum is some g-funky sh*t which I could've lived without. (BOBBY BEATS)
This LA underground offering is worth peeping, even if it looks unassuming. Only the small tag, "scratches by Cut Chemist" alerts you to the fact that this might be some sh*t. The title cut isn't the greatest of titles to draw fools in, but the jazzy production loops will definitely be enough to pull some heads around. Lyrically, it's ok...I liked the B-side (which has an ILL bassline/drum combo) better even though I didn't think either side was hella ground-breaking lyrically. (MOONSHINE)
Ah...at long last. You could say I've been waiting for this one for about two years, which is about how long I've known the M.B.'s for. Their indie released EP is a great snapshot on a hip hop group on the rise...if they ever break out, this is gonna one for the crates. The three cuts (plus a remix) are full of jazzy beats (no samples) and well-rhymed lyrics by this trio of Philly rappers. Content is definitely a key, especially on "Paperchase", which remarks on the endless obsession after greenbacks. "Optometry" talks about the lack of vision in hip hop, definitely schooling fools on relearning the basics. The B-side "Ain't Nuthin" plus remix is some braggadocio tip, with lotsa punchlines to get heads going, "Aaaaaaaah". I like rocking the remix myself for the best combo on lyrics and beats. Snap this sh*t up if and where you can, chances are...if you haven't heard of the Mountain Brothers yet, you betta ask somebody. (MAGNIFICENT BUTHCHER)
Columbia's put this out on 12" (nothing else on it)...dunno which show it was taped off of, but it definitely sounds live. The freestyle itself is some of the worst of Nas Escobar IMO, straight talking about Columbians and kilos. I suppose Nas fans might want this one for the hell of it, but otherwise, don't trip. (WHITE LABEL)
Like his VMAX label mate, the SLD, Percee P's sh*t is ok...but his chorus needs to GO. I won't even waste space to go into it, but it's annoying as f---. The beat, by Shazam X, is decent, but in a field of other competitors, it fades to average. The B-side though is more proof that a good beat can do a sh*tload to make the lyrics sound better...the hyperactive bassline frees up Percee P to unrelease a better set of verbals. (VMAX)
The label and lyrics say Sucka Free, but the beats sound New York. Certainly, the production is hard not to like...familiar samples from other hip hop hits like "Verbal Pap" and "DJ Premier Is In Deep Concentration" held contribute to the headnod factor. Lyrically, it's decent stuff, people wary of West Coast mob lyrics need not worry, Raw Soul comes decently. The EP has a little something for everyone, instrumentals, acapella freestyles...good sh*t. (RAW SOUL)
A party track, don't doubt it, but hey, it's got the bump so I'm not fronting. Samples Pete Rock's "The Creator" plus this popular jazz sample that I last heard on Da Hitmen's "Clap Ya Hands" breakbeat. For what it's worth...it's worth it. (RUGGED SCIENTIST)
The first official 12" from "High School High", RZA's lyrics only serve to remind me how much I like his production efforts, but that's it. The beat is on that female humming sh*t which leads to wonder whether or not Blahzay should join the Wu. For all that people were saying about how progressive the lyrics were...bullsh*t. This was one long ass commercial. Method Man wasn't even really on this sh*t except for the choruses. Decent track, especially with the pinball (or door bell?) sample, but otherwise, I'm not that interested.
Real Live still shows that K Def can produce but once you put Larry O on his own, without being in a field of other lyrcists, you wonder what the big deal is. Jemini used the same track and rocked it better. (BIGBEAT/ATLANTIC)
Ok, so the intro isn't that impressive...once the beat drops, I'm willing to reconsider...unfortunately, the SLD ain't damaging as much as he might think he is on the A-side. Not bad, but not special enough to set him apart from the next man. (VMAX)
What, Barry White sampled again, ala Mad Lion's "Own Destiny"? Still, it'll fly at a party.
Eh...nice beat, ok lyrics. Overall, we won't be talking about this later..it's just not Arrogant's best stuff, but, surprise, surprise, it's a soundtrack cut for Shaq's "Kazaam!" (PERSPECTIVE)