These pair of songs by the Beat Junkies' Rhettmatic simply shake the room - kaboom! The lead off tracks from the World Famous Beat Junkies Vol 2. Mixtape (assembled by Rhett) are a virtual A-list of LA's underground MCs, including Evidence, Iriscience, T-Love, Divine Styler and Key Kool "From the Ground Up" is the close winner...I can't get enough of the boombastic track, but "Ubiquity" scores points for its sinister, funked out beat plus Divine Styler always makes a good showing. A very tight single.
I know, this is a bit older, but I just got my copy the other day and I'm liking these cats enough to play catch up. While "Intergalatic" isn't the best song off of "Hello, Nasty", it's pretty dope anyway with its electro-fuzz freakiness and the fervent lyrics of the B-Boys. Sure, they're not the greatest MCs (never have been) but that doesn't mean you should like their steelo anyway. While the single features several remixes, none really replace the original. A bonus cut, "Hail Sagan" is some tripped out electronica sh*t too, featuring Cibo Matto's Miho Hatari (the more talented of the pair, but the one who's not dating Sean Lennon).
Proving that the may the strongest crew of NYC MCs out there, DITC comes with yet another winner. Show flips it with skill on both versions of "Dignified Soldiers" while Big L, the Lord F, AG and OC drop lyrics lovely. The remix beat is more sinister and fits the overall vibe of the song better, but Show's original has a likable bounciness to it. Turn the wax around and tune into OC, AG and the Ghetto Dwellaz on a Mobb Deep-esque piano loop. I wasn't that excited about this side, but f--- it, I can deal with Side A only.
It's been a while from this Brooklyn ruffneck, but Kool G Rap is back on the indie tip with a strong single that most of you are likely NOT to hear. Down Low Records (Kool G's new home) has been practically incognito with selling or promoting G Rap's new sh*t, which includes an upcoming album. 'Tis a shame too b/c "Foul Cats" is kind of live...reworking (slightly) the same Marvin Gaye sample that made Mic Geronimo's "Unstoppable" his last bona fide underground bomb. Kool G doesn't come with any surprises - you know his steez - but word, with a hot track, G Rap's rhymes burn like potassium tracers through your chest.
I'm not sure what it means to call this the best hip hop song off of Lauryn's amazing debut LP - after all, she only has about three "pure" rhyming sessions ("Doo Wop", "Final Hour" and "Lost Ones"), but "Doo Wop" is a fantastic song on any level. Over a very dope piano track, L Boogie lays it down for the fellas and honeys about "that thing" - i.e. sex, sex, sex and the ways swinging an F gets both genders in double trouble. THIS is what commercial hip hop (insofar as you know the single is going to sell like Beanie Baby promos) should strive for. Lauryn challenges folks to maintian their integrity without having to sacrifice any of her own (Wyclef - take a lesson).
The Mos Def magic continues, this time with his familial crew Medina Green, also featuring Def's bro, DCQ and Syke. Both sides come tight, as we've come to expect from Def/Rawkus collabos..."Crosstown Beef" kicks it off lovely from the get go with the fat, bouncy beat and dope verses from all three. For a song that's all about beating MFs up, it's so much fun that you can't take it seriously (or does that make it all the more sinister?) The beatbox loop on "Fa-La-Lashe" is Grade A butter too and the thumb piano flicks melds smooth. Winner, winner, winner.
Put Al Tariq, Black Attack and Problemz together and you get Missin' Linx who put together a strong single on the expanding Fat Beats roster. "MIA", like the intro voices suggest, is on some old wild west beat tip, think Lalo Schrifin in Tombstone (courtsey of Vic). So funky it's stank nasty. Necro handles the organ loop on the flipside which is a'ight, but nowhere close to the A-side's dopeness. Lyrically, Problemz, Black Attack and Al Tariq are as good as they ever were (and you can decide what that means to you).
Straight outta Indianapolis, the Mudkids finally bring some of their songs to wax (the CD was out ages ago). For a bunch of MCs from a city not exactly known for its hip hop, the Mudkids come with some well-rhymed verses...good delivery like Fed Ex and the beats are tasty on "Freekya" with its whiny guitar licks and especially the vibed out keys on "Mash It Up." "Water to Earth" is overly ambitious on the conceptual tip, plus the beat sounds like an old Pharcyde track. Nonetheless, this 12" was worth the wait for vinyl.
"Dos Collabo" is simply fantastic...88 Keys finally starts to emerge as a producer to watch and having the Network Reps (Jef, Dash, Tru Persona) backed up by Bahamadia, Mike Zoot, L Fudge and Wizdom Life only increases the song's worth. Great instrumentals, dope verses on this song make the flipside, which is ok, feel almost disappointing in comparison. But trust me, if you only stick with "Dos Collabo", you're still getting some quality hip hop.
Putting Fresno on the map, Planet Asia and beat-master Fanatik combine to put out Asia's solo EP. Representing two strains of the ever-emerging Bay Area underground, Fanatik (the man responsible for the ultra-ill "Un-Assisted" beat) puts together a diverse set of sounds for Planet Asia to flip over. Asia himself is definitely a rising wonder - he's already blazed cameos on the "Rules of the Game" compilation, Rasco's new LP and his bigger crew, Yard Massive. Definitely a kid to keep an ear on, he's a promising talent that's going to be a major underground player in the near future. On this EP, Fanatic comes a little more sparse than I might have liked but "Handlin' Business" comes with some smooth, soulful, sublime level production that Asia delicately rips over. For the straight up ruff n' rugged, play the last track on the B-side (I don't have a track listing, but it uses Fanatik's "Hydro" beat from his recent beat LP). Pure fatness - no olestra.
Pete Rock is releasing practically every new white label (or so it seems). Hot off the Meccalicious joint and predating that new De La single, Pete helps put out a new single from his long-time INI brethern, Rob O. "World Premier" is actually done by Spunk Bigga, flipping the same jazz-soul track that Street Smartz used on the "Metal Thangz" remix. It still works though, even if it's not particularly original. "Star Quality" is Pete La Rocka's own and fires it up with an almost club-like quality...groovy sh*t though not Pete's most sophisticated work. As for Rob O, he's never impressed me as a supa emcee, but he's no flat foot either...I think he still needs to find an MC niche for himself that'll help distinguish himself above the dozens of other New York rappers trying to shine.
This EP has been getting advanced press for months and now that I've heard it I can say - it's earned it. Sole (from the Live Poets) comes with three songs strong enough to make me reconsider my past, lukewarm opinionating on the Live Poets. "Banquet of Sarcasm" is on some ol' Dres-type hype MC sh*t (think Black Sheep's first album). Hooks could use some improvement, but the song got my attention fast. "3 MCs in a Bar" has most folks talking, thanks to cameos by Mr. Complex and the Arsonists' D-Stroy and an ill ass 70s funk-soul loop...bomb. Last but not least is the mesmerizing "Third Person"...while it starts out a little awkward (overambitious), Sole kicks it off when the beat launches and it's all good baby. Blowe.
Maybe it's the ultra-funked out beats (courtesy of Davy D) or maybe it's T-Wrecks' acrobatic lyrics, but I'm feeling this single like a silk boxers. As is a growing problem, the hook should have been tightened up, but it's a faint flaw on an otherwise liver-than-live song. A sleeper hit, no doubt.
LA-based indie label GoodVibe makes a major push for recognition with their recent release of three different EPs and a 12". Most of GoodVibe's artists are taken from the LA and Bay Area underground and all four artists try to bring it on some super-scientifical level. Historically, beats tend to take a backseat to rhymes for this crowd, but the GoodVibe camp steps up the tracks a bit. DJ Khalil does a decent job on the Pyro 12" to make lush beats with an underlying punch - but on this single, the MC failed to impress me. Animal Pharm has a good overall balance - the beats are more mechanical, but sound good, and lyrically, the Pharm provides a generous harvest of rhymes. Some parts of The Kraken's EP was just too downbeat though I thought the lyrics were nice on "Dusty Trails" and "Ever Time I Rhyme" had strong rhymes over a dope piano loop - it's the sleeper gem on this single.
That leaves us with The Anonymous, the group formerly known as Moonshine who had a string of strong underground songs that no one really knew about. The title track from their "Green and Gold EP" brings on Michigan's Eminem for a short cameo that overshadowed the MC that followed him. "Manifest Destiny" had a striking track, but left me wanting in the verbal department. I suppose maybe that's why Dr. Ez's "Cool Fantastic Pt. 1 & 2" brought on 16 different MCs over 13 and a half minutes of beats. Cameos include everyone from E-Rule to the Mystik Journeymen and E-Rule. As far as massive posse cuts though, the quanitty on here slightly edges out the quality, particularly in the beat dept. For a group jam, "Cool Fantastic" (both parts) didn't seem to capture the spirit of over a dozen MCs going for theirs.
Kind of weird to anticipate a single and album by a group that you already know is breaking up (I'm sure this happens in the rock world a lot, but I can't remember too many examples happening in hip hop - most artists wait utnil after they drop an album to break sh*t up). "Find a Way", in the history of ATCQ lead singles is worlds, worlds better than "1nce Again", but compared to "Award Tour" and "Check the Rhime", this is nice, but it's no classic. Instead, Tribe drops two of the better songs from the album with the simple but likable "Find A Way" establishing the "Love Movement" aesthetic and "Steppin It Up" being a pretty cool posse jam (though "Rock Rock Ya'll" is much better). It helps to put Busta Bust and Redman on "Steppin" of course.
"I Honor U" (peep the video by the way) is a weird song insofar as the juxtaposition of R&B and hip hop is glaringly kept separate, in a way that doesn't quite work. Besides that, the song, while very nice in its attempt to have Canibus give love to mom-dukes, just doesn't work lyrically. "Get Retarded" is the better example as the quirky beat sticks in your head along with that soul-laced hook. It's a fat song, but Canibus is showing his limitations...as '98's most over-rated MC, he shows that being a hot freestyler doesn't make you a lyricist - a fate already shared by countless other examples (Craig G and Supernatural for example).
Is it me or is the Cypress Hill style just getting a bit tired? Of course, maybe I'm just not happy with B-Real's attempt at mimicking Mystikal on "Audio X". Muggs production hasn't really changed too much in the last seven years - it has its moments, but like Mobb Deep's dark moods, you kind of get sick of it after a while. The remix to "Tequila Sunrise" has Premier's touches all over it (I can't verify since I don't have production credits) but Fat Joe is unmistakable on the cameo tip. Conclusion: This is the NYC-crossover attempt. And hell, it might just work (but don't count on it). As for "Champions"...it has PMD cameoing - 'nuff said.
Hide the children - Eminem (now major label-ing it) is here. If you've been down with this Midwest big balla, you already have "Just Don't Give A F---" but "Brain Damage" is some new sh*t. Crazy, bugged - you know his steez - but likable...the beats are generic, nothing to even talk about. "Just Don't Give a F---" is clearly the song that Aftermath wants to push on the masses..."Brain Damage" is just the bonus for hungrier fans.
Simply said, the remix is NOT an improvement over the original beat-wise, but it's hard to dismiss with new lyrics by Mos Def. Say hello to the acapella version - remix it yourself!
While this wasn't produced by Greyboy (like P-Jays previous singles), I.C. does indeed blow up the proverbial spot on "Spot Blowin'" with a hype funk-guitar track and some rugged street level lyricism. Lick a shot. "Live From the Pentagon" works off of an exotica loop (subtle) and is less frantic in its verbals but no less likable for it. Good sh*t.
Following Defari and Jemini comes the Jigmastas, the latest NY underground crew to grace the Tommy Boy Black Label. First thin you notice is that Spinna's up to his old tricks on the production tip, dropping his trademark high-pitched horns and whines that push through chaotically. "Original" is the more interesting song in terms of both beats and rhymes. It comes darker, more minimalistic and the Jigmastas come with some stinging braggadocio. Unfortunately, the chorus kind of kills the vibe, but once it's over, the head nodding continues in earnest. Like most of the TBB material, this isn't essential, but you could do worse.
Put Snoop and Slick Rick together over a funky guitar break and you clearly have the makings for a cross-coastal radio hit. Heck, credit Kid Capri for knowing a good formula when he hears one...I liked "Unity" for both giving Snoop something to rhyme over besides Souther fried No Limit funk and how can you front on the return of Slick Rick? I ain't mad at this one if it blows up. The remix on the B though is on some banal Wackmasterz tip. Skip dat.
The hardest MC to ever emerge from Baltimore (after John Waters), Labtekwon is one of those underground artists that only the truly subterraen have heard of - remember "I Am Here"? Neither do most folks b/c they never saw it. This EP is just as abstracted, and has "independent" spelled all over it. If you want some hot mixtape tracks - look elsewhere...this is some purely cerebral sh*t with the exception of hilarious "South Mars" (a take-off on BDP's "South Bronx"). A truly bugged song, "South Mars" is oddly the most accessible track on this EP. Take a trip.
Better than average NY indie single. The Clik isn't going to blow you away with their ill communication but Spinna comes through with a nice beat from his expanding catalog on "World Reknown." Unfortunately, Garsha Vega's B-side production is too understated to stand out - like walking through a cobweb, you know it's there, but you just can't feel it.
I first heard the songs off this single a couple of months back when Suboc from Non-P dropped by the show with a tape dub and I seem to remember I liked it better. Alas, now that it's on wax, I only get mildly excited by "Refuse to Lose" while the rest of the single, including the title track, just seem lackluster to me - mostly b/c the beats are flat like week-old soda. Lyrically, the Non-P crew still comes with some fire (see "Refuse to Lose"), but compared to their last single, the outstanding remix of "5 Boros", I didn't feel this was as strong.
While it doesn't aspire to be a complete document of the state of Chicano hip hop, the OMD EP represents an intriguing step away from the traditional "Spanglish" rap that's dominated sales charts from Chicano/Latino MCs. Instead, OMD features some of the top lyricists "of Mexican descent", but they're kicking rhymes in the lingo of the beastmster (i.e. English) and suggesting that you don't have to get bilingual to twist tongues. Ultimately, the verbals on this EP are a mixed bag...like any underground set of MCs, sometimes, ambition outweighs performance and in the attempt to achieve super-scientific lyrcism, some fall short. Beat-wise, they hire a slew of different producers including Evidence ("I am Still"), Key Kool ("Lady of the Lake") and the always frenzied Ill Brother Percussions ("Medication"). This isn't essential, but has value beyond just another hip hop project.
A likable collection of break beats and about two dozen scratch samples. Nothing outstanding, but for those break fiends, here's another one to add to your collection.
Tony Da Skitzo is one of the few MCs out of San Diego who have any kind of name recognition in the underground. His past work has been of mixed quality, the greatest liability is also his most prominent flow that can get grating after a while. However, this EP is probably his strongest collection of work to date. "THC" starts it off and Tony jumps up to give out beat downs with a quickness. A nice song but "Hi-To" slows the vibe down too much - it's not going to be everyone's favorite for certain. "Let's Drift" is the strongest song, beat-wise, on this EP...a nice jazz loop runs underneath, giving Tony the opportunity to test his torch rhyming skils.
Straight outta the Queensborough comes the Union, which is a posse collection consisting of Lee Mass, Blood Brothers, Luca Bros and Black Mel (if you've never heard of any of them...well, don't be surprised, neither have most). It's a decent posse jam...the beat clocks on the head nod factor at about 7 (out of 10) and between the half-dozen MCs, expect some lyrics to come wicked. The remix tries to heat it up with some 70s rock flav, but it overreaches in the attempt.
I could be way off about this, but I think this was originally named "Drums of Death Pt. 1" on the upcoming UNKLE LP. Anyways, if you're not knowing, UNKLE is basically the production work of DJ Shadow with the exec. production clout of Mo Wax's James Lavelle. This is the lead single off the upcoming album, "Psyence Fiction" and it advertises Kool G Rap and Latyrx. In reality, it's just Kool G Rap rockin' the raucous rhymes...Latyrx add color by chatting up a fighter battle, but no verbals from these Quannum leap cats. The song is supposed to recapture the kind of ill ass vibe that Kool G started out with in his Cold Chillin' days, but Shadow's track is way noiser than anything Marley Marl cooked up. Plus, putting G Rap through the echo chamber just doesn't sound quite right either. In all honesty, this is probably great art, but it's not likely to improve Shadow's standing among more myopic hip hop heads. Is he a man out of step or just a man ahead of his time?
"Cheated" is more of the same pop fare by Wyclef (though not as bad as "Ghetto Superstar" or "Another One Bites the Dust"). Not much to really say about it since most heads will want to flip the wax and take a listen to "What's Clef (Got To Do With It)", his reply to LL's charger that Clef is nothing but a "Bob Marley imposter" (a dis featured on LL's unheard "The Ripper Strikes Back"). Unfortunately, as far as dis records go, Wyclef should stick to produing and let folks like Lauryn or Canibus do his assasination work for him. Clef goes nowhere fast on this one, despite an "off the hook" track (literally) that samples a telephone tone to hype effect.
Man - is David Bowie's "Fame" getting popular or what? This is the third time it's shown up on a hip hop track. Anyways, it's been a while for the D.U. crew...many think their star passed years ago and I'm not debating this wildly. The song itself is ok, but it's not spectacular or even that infectous. Don't call it a comeback.
While I'm trying to get open on MOP (really, I am, I swear), this new track with Guru and Primo is mostly lacking on account of - dare I say - Primo's less-than-inspired production. Primo swings in weird ways...his Brand Nubian track melted my tables, but "1/2 and 1/2" is aptly named since the track severly lacks milk. You're better off with some of the better songs from MOP's upcoming album.
Ho hom...ok, fine, so they flipped "Hot Sex" in a new way, I'll give 'em points there, but I really can't get excited by Heltah Skeltah these days (and yes, I've heard the whole album which didn't change my opinion either). Ruc and Rock have their moments and "I Ain't Havin' That" is as close they probably get to really getting their rhyme on, but the flat beats on "Woldwide" just make me wonder why Duckdown and/or Priority won't spend more to hook up these cats with better beats.
Keith Murray and LL Cool J team up for an average rap song over Erick Sermon's ever-common funk-lite production style. There was definitely better stuff on the Def Squad LP to listen to. Beef watch: No mention of Canibus by LL during his cameo.
Don't confuse the title with the artist...even though Name is from Philly, "Black Thought" is the song, not the Roots' lead MC. With that cleared up, the song itself is interesting...Name's definitely not exploding on the mic, but smooths it out with a laid back set of lyrics. An acquired taste I predict and the remix ruins whatever vibe exists with some overly sparse drum kits. "Logic" is a little better lyrically, but still average in the end.
Oh please - "Grease" resurrected? It's hard to figure out who's less deserving: Pras or Rampage.
Jazzbo calls Wyclef, "Puffy with a guitar" and while I might have been more resistant to agreeing with this - let's face it - Wyclef is proving it song-by-song. I mean, this is a fine dance song...tapping into Queen's classic bassline which has gone (surprisingly) unused up until now (Grandmaster Flash and Powerrule notwithstanding). But for the most part, this is pure pop regurgitation...is it supposed to be better that Wyclef credits Freddie Mercury and company first instead of putting him or his Refugee All-Stars first? You might win some, but you just lost one.
Ras Kass is probably hip hop's most underused talents - but blame the man himself for that. On both of these tracks, Ras Kass displays the uncanny ability to spill lyrics forth from an seemingly endless source...where some MCs stab and poke, Ras Kass simply overwhelms you with a verbal tidal wave - and it's not bullsh*t - he's trying to hit you with some good lines. But it just doesn't meet potential...beats are flat and Ras' lyrical material is less concrete and more plastic Dig? He has his moments, no doubt - it's just not on either of these two songs.
Curious...Rawcotiks jumps to Figure IV NYC, best known in Canada for being the Rascalz' label. Anyways, much as I've enjoyed their past work, I found this new single lackluster on side A and not much better on the flip. It's all decent...garden-variety NY indie sh*t, but as I've been complaining throughout - you can't get anywhere by maintaining the mean. There's just too much else out there that calls for your attention too.
Disappointingly flat single - neither side comes even lukewarm.
Nike gets into the hip hop game with a pair of seriously questionable jams by anonymous MCs (Area Code and DL) with beats by George Clinton and QDIII. Looks like Phil Knight and company know how to spend loot, but next time, buy some rappers who are at least better than Shaq. Bleah - corporate hip hop (literally) at its most banal.
I give Trigger credit for still trying to stay in the game after getting dropped down to the minor leagues. But that's about it. Generic song from a generic MC.