The Hip Hop Mortuary

"I wax lyrics so poetic even the most narcoleptic skeptic feels awake and perceptive"

11:00 AM

QNC- Duo Dynamic

Posted by Guy Fawkes

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Gotta love a 2005 cover that genuinely looks like it was made in the mid 90’s. To tell the truth, I only started rocking with QNC (MC Q Ball and producer Curt Cazal), when I first heard them over a vicious cut by Aim (don’t sleep on that true British hip hop). The type of song that makes you forget all the bullshit and realize why you loved hip hop. I’m teasin, I know, track’s called The Force (no Obi Wan), and it will literally rock your shit. Guaranteed. It’s like when you first heard O.C.’s stellar Word…Life and off the strength of that one album you tracked down his whole discography. Same here. That joint is so vicious, that I was compelled to go all out. Copped the 12′, the vinyl’s, the instrumentals, the album, everything. Off the strength of that one joint. Anyway, QNC is a great listen, and they got a feature from Camp Lo. At the moment, that might not seem all that impressive, but Camp Lo was ghost like Casper 4 years ago. And if you ain’t fucking with Camp Lo, I don’t even know.

For Da’ Love

How many songs have you heard where the MC’s claim they’re doing it for the love? Ludacris did it 3 songs in a row his last album. Take my word for it, this isn’t another I Do It For Hip Hop. This is a deeply heartfelt ode to that art form we all love. Haunting instrumental, those NY lyrics that quietly smack you across the face, and an immaculate scratch for the hook. What more can you ask for?

Streets Don’ Run (feat. Dimes)

You hear this beat? You hear this fucking beat? What’s fucking with that? To balance it out, QNC and Dimes kick some wack shit, still a dope track though.

It’s Going Down (feat. Camp Lo)

This song isn’t going to change anyone’s life, but at the same time it’s a harmless waste of four minutes. Sounds like any track on Uptown Saturday Night with a little more polish and a lot more playfulness.

Would You (feat. Dubble D)

Oh man, this guy must get so much shit for his rapper name. Some great storytelling over an almost Miami Vice- esque beat. To tell the truth, this shit is kinda wack, but that “would you” scratch is just immaculate.

Major League (feat. Schinie)

Schinie with (her?) gruff Lil Kim voice spits some hot fire all over the first verse, and then the lyrical dragon Q Ball finished the job. Nothing like a job done right.

On some real shit, this album wasn’t terrible but it wasn’t awfully impressive either. The few tracks listed above will prove as a good gateway to the rest of QNC’s discography. However, I didn’t find one joint that truly measured up to the greatness that was The Force. Different strokes for different folks though.

0-20: Terrible listening experience
21-40: Maybe one good song
41-60: A few good songs
61-80: Half are good songs, half are weak
81-100: Great listening experience, almost all are great songs

I give this album an 75.

Coppage here

10:57 AM

Kool G Rap- 4,5,6

Posted by Guy Fawkes

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Kool G Rap’s story has always intrigued me. This is a man who is widely considered a hip-hop pioneer for his early work with DJ Polo and The Juice Crew. Nowadays Kool G is still relevant, although he’s passing off third-rate mixtapes with the likes of DJ Whoo Kid among others. A whole hip-hop culture unto itself indeed. What’s really fascinating is how G Rap was able to outlast many of his peers. Rakim, Public Enemy, UMC, and most of his fellow Juice Crew have fallen into relative extinction. However, Kool G has quietly been keeping his name alive.
Also notable is the change in style. When G Rap was a member of the Juice Crew, his rhymes were well… kind of corny. Not compared to Biz Markie, but still, if you listen to his really early material you’ll notice that he emulated the times. Few years pass and KGR really takes hold of his true identity. Starts to patent his trademark rapid flow, the mafioso image, and the pentasyllabic rhyme scheme. About the time when he drops 4,5,6. This is one of those albums that got shitted on upon first release, but people grew to love it. Seems like a very common occurrence throughout hip hop history. On an extremely random note, did anyone else know that Kool G had a kid with Karine Stephans (you may know her better as Dick Tonsil or Supa Head)?

4,5,6

Isn’t it like an unwritten rule somewhere that the title track is never any good? Regardless that’s not the only surprise here. A certain Nasir Jones (who appears later on this album may I add), is sampled here almost directly in the same way that Sean Carter did it. Maybe Nas didn’t take offense to it, because it was done so sloppily. Seems like Dr. Butcher isolated the half-second he needed and just stuck it onto the hook. Regardless, one of the best odes to rollin’ dice ever.

It’s A Shame

The description of Tammy is priceless.

“Her name is Tammy, got a beach house in Miami
Rides around with a small jammy in her silk and satin panties
A down hoe, a Foxy Brown hoe, standin her ground hoe
And if you clown yo she’ll turn into a bust a round hoe”

One of G Rap’s premier ventures at storytelling, only weakened by the dime-a-dozen hook. Regardless, this is one of those tracks that attempts to be a laid-back cross between sultry R&B and softcore hip hop. It succeeds at neither, but KGR’s mastery in Aesop, makes you totally neglect everything besides the word’s coming out of his mouth.

Take ‘Em To War (Feat. MF Grimm and B1)

One thing that has steady amazed me is how many producer’s sample David Axelrod. I’ve never been a big Grimm fan, especially his later work, but his verse here is pure brilliance. Doctor Death. Following Grimm’s beast of a verse is early Rawkus legend B1. Launching an onslaught of lyricism that lasts for just one minute, but is remarkably vivid in it’s duration.

Executioner Style

This is where G Rap truly shines, a minimilastic beat with soft vibrations and vicious drums, which let’s KGR excel by throwing all sorts of alliteration and assorted rhyme schemes into the mix. One of the most violent and grotesque tracks you’ll ever hear ( “I make Bloody Mary’s out of your capillaries”), but it’s hard as fuck not to nod your head to this one.

For Da Brothaz

What would be just another ‘pour one for the homies’, is immeasurably improved by KGR’s lyrical prowess, but even that doesn’t rescue this song from mediocrity.

Blowin Up In The World

Not enough can be said for Buckwild’s production on this cut, I won’t attempt to do it justice, mixed with yet another KGR lyrical annihilation this track proves immaculate (word to Franco Harris).

Fast Life (feat. Nas)

This poppy instrumental has always reminded me of Miami in the ’80’s. The 20 second intro adds to that element. Lame-ass hook, but Nas and KGR combine to firebreath for a good four minutes.

Ghetto Knows

As someone who almost always has something bad to say about the hook, I’m rendered speechless here. Very well done. This has always seemed like a logical outro to me, so this is where we’ll end.

I think it’s fair to say that 4,5,6 is not a very well-produced album, an mirror image of Lifestylez ov Da Poor and Dangerous with average instrumentals and ‘way before their time’ lyricism. This album is a benchmark to the rapid-fire flow, never would any rapper spit half as fierce as KGR on 4,5,6, but countless rappers would try their hand at it. Well, imitation is the highest form of flattery Mr. Wilson.

0-20: Terrible listening experience
21-40: Maybe one good song
41-60: A few good songs
61-80: Half are good songs, half are weak
81-100: Great listening experience, almost all are great songs

I gotta give this one an 93.

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