tag:blogger.com,1999:blog-40191476113212600852024-03-05T04:52:56.625-08:00The Hip Hop Mortuary"I wax lyrics so poetic even the most narcoleptic skeptic feels awake and perceptive"Guy Fawkeshttp://www.blogger.com/profile/15188947421727982730noreply@blogger.comBlogger95125tag:blogger.com,1999:blog-4019147611321260085.post-39079944904118381112011-05-22T21:16:00.001-07:002011-05-22T21:16:56.851-07:00The NEW JOINT IS<span class="Apple-style-span" style="color: black; font-size: x-large;"><b><u><a href="http://illcuts.com/">ILLCUTS.COM</a> </u></b></span><br />
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I done been blogging there for a second, or a few years, but check it out if you enjoyed this site.Guy Fawkeshttp://www.blogger.com/profile/15188947421727982730noreply@blogger.com27tag:blogger.com,1999:blog-4019147611321260085.post-55812136323363500922009-07-29T02:50:00.000-07:002009-07-30T18:35:03.266-07:00Geto Boys - Geto Boys<div><img alt="http://www.ugo.com/images/galleries/getoboys_music/1.jpg" src="http://www.ugo.com/images/galleries/getoboys_music/1.jpg" /><br />By the time that Geto Boys decided to pick up a mic and put their thoughts into music, the city of Houston was immediately put on the hip hop map. Bushwick Bill, the great Scarface, Willie D, and Dj Ready Red approached the rap game without compromises of any sort, speaking the raw truth, giving any censorship institution a great amount of work to do. "Geto Boys" was not their official first album, it was effectively their third, although it included several songs heard before on "Grip It! On That Other Level" and even one from "Making Trouble". Luckily for them, the great producer Rick Rubin decided to sign them on Def American, made a restyling work on 10 of the 13 total tracks (3 were new), and put the finished work on one album, mixing the quartet ghetto-oriented attitude with an even more aggressive sonic impact, a perfect environment for the drugs, sex & gangsta tales put on by the guys themselves. </div><br /><div><br />What’s Hot </div><br /><div><br />1. Fuck'Em - Straight Geto Boys attitude, nothing more, nothing less. The album gets a sudden start, it's opened by a Ready Red scratch followed by a gritty beat, the f-word is repeated countless times, and Willie D gives a taste of his aggressive rapping style, in this track he really stands out. </div><br /><div><br />2. Size Ain'Shit - A Bushwick solo joint, where the lil' big man speaks about his size, which really doesn't matter because he's gonna bust your butt anyway...great beat, great rhythm. </div><br /><div><br />4. Gangsta Of Love - You can hear "Sweet Home Alalbama" by Lynyrd Skynyrd all over the place, this is one of the greatest hip hop beats ever made, Rick Rubin rock/metal-oriented production gets all the credit. Lyrics are sick, must be 21 or older to listen to! </div><br /><div><br />6. Life In The Fastlane - Scarface raps about his dope sellin' past over a fat beat, the harmonica lop gives the cut a unique texan flavor. </div><br /><div><br />11. Scarface - A timeless classic, a great way to give new life to the "Paid In Full" beat. Al Pacino-type shit!</div><br /><div><br />12. Let A Hoe Be A Hoe - A slept-on track, the title speaks by itself, and Willie D speaks nothin' but the truth.</div><br /><div><br />13. City Under Siege - A noisy track that put the finishing touch on the album, has a dark piano loop sustained by angry lyrics, injustice and frustration spread everywhere.<br /></div><br /><div>What’s Not</div><br /><div><br />3. Mind Of A Lunatic - okay, this will never be a bad song because of the insane beat, but the horrorcore/sex tale taste of the lyrics leaves with a bad taste in your mouth. </div><br /><div><br />9. Read These Nikes - Very good lyrics over a floppy beat. </div><br /><div><br />Bottom Line</div><br /><div><br />When "Geto Boys" came out, hip hop was in the middle of a war with censorship organization and shit like that, the more mc's were censored, the more they were motivated to talk about reality that finally can be heard. The Geto Boys offers an imposing album, which talks about the surroundings and circumstances of the infamous 5th Ward section of Houston, speaking the hard truth with the same effect of a punch in the mouth. They don't care about anybody and anything, they do what they got to do anyway and anyhow, and if you don't like it, you can fuck yourself. Here's the message to be heard. Not so deep, but always a message. </div><br /><div><br />0-20: Terrible listening experience</div><br /><div><br />21-40: Maybe one good song</div><br /><div><br />41-60: A few good songs</div><br /><div><br />61-80: Half are good songs, half are weak</div><br /><div><br />81-100: Great listening experience, almost all are great songs<br /><br />I give this album an 88. The beats and the lyrics smash every obstacle ahead of them, this is raw, pure and cruel ghetto hip hop, matched with a superior musical production, supervised by a former metal fan who turned himself as an heavy-influencing and versatile producer. There's not a single completely weak song in here. </div>Mistadavehttp://www.blogger.com/profile/08754669369340579915noreply@blogger.com65tag:blogger.com,1999:blog-4019147611321260085.post-20973366709546867912009-04-04T11:05:00.000-07:002009-04-04T11:05:00.427-07:00Big Pooh- Sleepers (Re-Review!!)<h3><a href="http://hhhead.com/wp-content/uploads/51vk52kelxl_ss500_.jpg"><img class="aligncenter size-full wp-image-1616" title="51vk52kelxl_ss500_" src="http://hhhead.com/wp-content/uploads/51vk52kelxl_ss500_.jpg" alt="51vk52kelxl_ss500_" width="400" height="400" /></a><br /></h3> <p> I can’t attest to ever being a huge fan of Big Pooh, Phonte or any of the Justus League collective, partly because of the overt feeling that they’re rhyming conscious but “they ain’t saying nothing”. Especially when it comes to Big Pooh who seems to be the king of meaningless words that still flow beautifully over a 9th Wonder production. Well, maybe that’s a little harsh, since Pooh and Phonte have done some quality work in their short career. Still, it was this album that I found the most impressive in the whole Little Brother discography. Better than <em>Get Back</em>, <em>The Minstrel Show</em> and <em>Separate But Equal</em>. Upon first listen, I was almost deterred because of the cover. What accomplishments does Rapper Big Pooh have to warrant any comparisons with J Dilla? None really, but this album is taking a step into the right direction…</p> <p><em>The Strongest Man</em></p> <p>Exhibit A (word to Poe Picasso) of Big Pooh not really saying anything worthwhile, but still sounding pretty good on the final cut. If you really want my opinion, this song is a perfect embodiment of how conscious hip-hop has gotten tired and played out. “Rock to the rhythym/You can’t see me/Chillin on the cut/Yeah, that’s where you’ll find B”. Still this track is just friendly piffle that you can’t really hate on, no matter how many times you’ve heard a song almost identical to it before.<br /><object data="http://www.youtube.com/v/6vFUtU2dG4I&hl=en&fs=1&rel=0&color1=0xe1600f&color2=0xfebd01" type="application/x-shockwave-flash" width="425" height="344"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><param name="src" value="http://www.youtube.com/v/6vFUtU2dG4I&hl=en&fs=1&rel=0&color1=0xe1600f&color2=0xfebd01"><param name="allowfullscreen" value="true"></object></p> <p><em>Heart Of The City</em></p> <p>I’ve gotten into a few arguments lately about 9th Wonder’s status as one of today’s best producers and I always use this instrumental as proof that 9th is on his way to Madlib-esque martyrdom in the underground hip hop community. Pooh on the other hand, impresses, but lacks the lyrical prowess to really make your jaw drop. The track as a whole is a definite blunt-lighter.<br /><object data="http://www.youtube.com/v/mS9FWpX2GTM&hl=en&fs=1&rel=0&color1=0xe1600f&color2=0xfebd01" type="application/x-shockwave-flash" width="425" height="344"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><param name="src" value="http://www.youtube.com/v/mS9FWpX2GTM&hl=en&fs=1&rel=0&color1=0xe1600f&color2=0xfebd01"><param name="allowfullscreen" value="true"></object></p> <p><em>Scars (Cut Me Deep)</em></p> <p>This is that dope posse cut I needed to hear. Justus League weed carriers Median and Joe Scudda come semi-hard (no homo), but Pooh smashes the first verse.<br /><object data="http://www.youtube.com/v/ujqvptG8cic&hl=en&fs=1&rel=0&color1=0xe1600f&color2=0xfebd01" type="application/x-shockwave-flash" width="425" height="344"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><param name="src" value="http://www.youtube.com/v/ujqvptG8cic&hl=en&fs=1&rel=0&color1=0xe1600f&color2=0xfebd01"><param name="allowfullscreen" value="true"></object></p> <p><em>Now</em></p> <p>To be honest, this was my true motivation to listen to <em>Sleepers</em> in the first place. It was never really about Big Pooh, but moreso about 9th the whole time. This track is interesting because you get to see the 10-1′th Wonder cook up an instrumental that both Pooh and MURS can comfortably glide over. Dope shit, aside from the hook which was just embarrassing.<br /><object data="http://www.youtube.com/v/DXsrx_LgpIA&hl=en&fs=1&rel=0&color1=0xe1600f&color2=0xfebd01" type="application/x-shockwave-flash" width="425" height="344"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><param name="src" value="http://www.youtube.com/v/DXsrx_LgpIA&hl=en&fs=1&rel=0&color1=0xe1600f&color2=0xfebd01"><param name="allowfullscreen" value="true"></object></p> <p>Those were four of my favorite cuts off this album, all the other joints were pretty weak. Still, on an instrumental level this album is not bad, and when Pooh comes through and kicks some real shit on the mic this becomes one of the better Little Brother projects. <span style="text-decoration: underline;"><span style="font-weight: bold;"><br /></span></span></p><p>0-20: Terrible listening experience<br />21-40: Maybe one good song<br />41-60: A few good songs<br />61-80: Half are good songs, half are weak<br />81-100: Great listening experience, almost all are great song</p><p>I give this album an 77 on second listen.</p><p><a href="http://jinginohakaba.blogspot.com/2007/05/rapper-big-pooh-sleepers_30.html">Here</a> or <a href="http://alimentandotualma.blogspot.com/2007/09/big-pooh-sleepers.html">here</a><br /></p>Guy Fawkeshttp://www.blogger.com/profile/15188947421727982730noreply@blogger.com11tag:blogger.com,1999:blog-4019147611321260085.post-86253766270952989732009-03-28T11:00:00.000-07:002009-03-28T11:00:00.992-07:00QNC- Duo Dynamic<h3><a href="http://hhhead.com/wp-content/uploads/qncxs2.jpg"><img class="aligncenter size-full wp-image-1763" title="qncxs2" src="http://hhhead.com/wp-content/uploads/qncxs2.jpg" alt="qncxs2" width="400" height="400" /></a></h3> <div class="entry"> <p>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 <a href="http://www.youtube.com/watch?v=JpAH0pkhsVU">The Force</a> (no Obi Wan), and it will literally rock your shit. Guaranteed. It’s like when you first heard O.C.’s stellar <em>Word…Life</em> 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.</p> <p><em>For Da’ Love</em></p> <p>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 <em>I Do It For Hip Hop</em>. 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?</p> <p><object data="http://www.youtube.com/v/ecoyVvNNwXA&hl=en&fs=1&rel=0&color1=0xe1600f&color2=0xfebd01&border=1" type="application/x-shockwave-flash" width="445" height="364"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><param name="src" value="http://www.youtube.com/v/ecoyVvNNwXA&hl=en&fs=1&rel=0&color1=0xe1600f&color2=0xfebd01&border=1"><param name="allowfullscreen" value="true"></object></p> <p><em>Streets Don’ Run</em> (feat. Dimes)</p> <p>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.</p> <p><object data="http://www.youtube.com/v/StWJPWEAEcU&hl=en&fs=1&rel=0&color1=0xe1600f&color2=0xfebd01&border=1" type="application/x-shockwave-flash" width="445" height="364"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><param name="src" value="http://www.youtube.com/v/StWJPWEAEcU&hl=en&fs=1&rel=0&color1=0xe1600f&color2=0xfebd01&border=1"><param name="allowfullscreen" value="true"></object></p> <p><em>It’s Going Down </em>(feat. Camp Lo)</p> <p>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 <em>Uptown Saturday Night</em> with a little more polish and a lot more playfulness.</p> <p class="audioplayer_container"><object id="audioplayer_11" data="http://hhhead.com/wp-content/plugins/audio-player-1/assets/player.swf?ver=20080825040617" style="outline-color: -moz-use-text-color; outline-style: none; outline-width: medium; visibility: visible;" name="audioplayer_11" type="application/x-shockwave-flash" width="290" height="24"><param value="#FFFFFF" name="bgcolor"><param value="transparent" name="wmode"><param value="false" name="menu"><param value="animation=yes&encode=yes&initialvolume=75&remaining=yes&noinfo=no&buffer=5&checkpolicy=no&rtl=no&bg=000000&text=000000&leftbg=080400&lefticon=010a08&volslider=ff0000&voltrack=ffffff&rightbg=ffffff&rightbghover=ffffff&righticon=000000&righticonhover=ffffff&track=ffffff&loader=ff0000&border=000000&tracker=ff0000&skip=ffffff&soundFile=aHR0cDovL2hoaGVhZC5jb20vd3AtY29udGVudC91cGxvYWRzLzA1LWl0cy1nb2luLWRvd24tZmVhdC1jYW1wLWxvLm1wMw&playerID=audioplayer_11" name="flashvars"></object><script type="text/javascript">AudioPlayer.embed("audioplayer_11", {soundFile:"aHR0cDovL2hoaGVhZC5jb20vd3AtY29udGVudC91cGxvYWRzLzA1LWl0cy1nb2luLWRvd24tZmVhdC1jYW1wLWxvLm1wMw"});</script></p> <p><em>Would You</em> (feat. Dubble D)</p> <p>Oh man, this guy must get so much shit for his rapper name. Some great storytelling over an almost <em>Miami Vice</em>- esque beat. To tell the truth, this shit is kinda wack, but that “would you” scratch is just immaculate.</p> <p class="audioplayer_container"><object id="audioplayer_12" data="http://hhhead.com/wp-content/plugins/audio-player-1/assets/player.swf?ver=20080825040617" style="outline-color: -moz-use-text-color; outline-style: none; outline-width: medium; visibility: visible;" name="audioplayer_12" type="application/x-shockwave-flash" width="290" height="24"><param value="#FFFFFF" name="bgcolor"><param value="transparent" name="wmode"><param value="false" name="menu"><param value="animation=yes&encode=yes&initialvolume=75&remaining=yes&noinfo=no&buffer=5&checkpolicy=no&rtl=no&bg=000000&text=000000&leftbg=080400&lefticon=010a08&volslider=ff0000&voltrack=ffffff&rightbg=ffffff&rightbghover=ffffff&righticon=000000&righticonhover=ffffff&track=ffffff&loader=ff0000&border=000000&tracker=ff0000&skip=ffffff&soundFile=aHR0cDovL2hoaGVhZC5jb20vd3AtY29udGVudC91cGxvYWRzLzA4LXdvdWxkLXlvdS1fLWZlYXQtZHViYmxlLWQubXAzA&playerID=audioplayer_12" name="flashvars"></object><script type="text/javascript">AudioPlayer.embed("audioplayer_12", {soundFile:"aHR0cDovL2hoaGVhZC5jb20vd3AtY29udGVudC91cGxvYWRzLzA4LXdvdWxkLXlvdS1fLWZlYXQtZHViYmxlLWQubXAzA"});</script></p> <p><em>Major League</em> (feat. Schinie)</p> <p>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.</p> <p class="audioplayer_container"><object id="audioplayer_13" data="http://hhhead.com/wp-content/plugins/audio-player-1/assets/player.swf?ver=20080825040617" style="outline-color: -moz-use-text-color; outline-style: none; outline-width: medium; visibility: visible;" name="audioplayer_13" type="application/x-shockwave-flash" width="290" height="24"><param value="#FFFFFF" name="bgcolor"><param value="transparent" name="wmode"><param value="false" name="menu"><param value="animation=yes&encode=yes&initialvolume=75&remaining=yes&noinfo=no&buffer=5&checkpolicy=no&rtl=no&bg=000000&text=000000&leftbg=080400&lefticon=010a08&volslider=ff0000&voltrack=ffffff&rightbg=ffffff&rightbghover=ffffff&righticon=000000&righticonhover=ffffff&track=ffffff&loader=ff0000&border=000000&tracker=ff0000&skip=ffffff&soundFile=aHR0cDovL2hoaGVhZC5jb20vd3AtY29udGVudC91cGxvYWRzLzExLW1ham9yLWxlYWd1ZS1mZWF0LXNjaGluaWUubXAzA&playerID=audioplayer_13" name="flashvars"></object><script type="text/javascript">AudioPlayer.embed("audioplayer_13", {soundFile:"aHR0cDovL2hoaGVhZC5jb20vd3AtY29udGVudC91cGxvYWRzLzExLW1ham9yLWxlYWd1ZS1mZWF0LXNjaGluaWUubXAzA"});</script></p> <p>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<em> The Force</em>. Different strokes for different folks though.</p><p>0-20: Terrible listening experience<br />21-40: Maybe one good song<br />41-60: A few good songs<br />61-80: Half are good songs, half are weak<br />81-100: Great listening experience, almost all are great songs</p><p>I give this album an 75.<br /></p><p>Coppage <a href="http://dergatron9000.blogspot.com/2007/07/qnc-duo-dynamic.html">here</a><br /></p></div>Guy Fawkeshttp://www.blogger.com/profile/15188947421727982730noreply@blogger.com1tag:blogger.com,1999:blog-4019147611321260085.post-86252659480430073652009-03-21T10:57:00.000-07:002009-03-21T10:59:03.352-07:00Kool G Rap- 4,5,6<p><a href="http://hhhead.com/wp-content/uploads/koolgrap-4561995192kb.jpg"><img class="alignnone size-full wp-image-2116" title="koolgrap-4561995192kb" src="http://hhhead.com/wp-content/uploads/koolgrap-4561995192kb.jpg" alt="koolgrap-4561995192kb" width="400" height="400" /></a><br />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.<br />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 <em>4,5,6</em>. 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)?</p> <p><em>4,5,6</em></p> <p class="audioplayer_container"><object id="audioplayer_3" data="http://hhhead.com/wp-content/plugins/audio-player-1/assets/player.swf?ver=20080825040617" style="outline-color: -moz-use-text-color; outline-style: none; outline-width: medium; visibility: visible;" name="audioplayer_3" type="application/x-shockwave-flash" width="290" height="24"><param value="#FFFFFF" name="bgcolor"><param value="transparent" name="wmode"><param value="false" name="menu"><param value="animation=yes&encode=yes&initialvolume=75&remaining=yes&noinfo=no&buffer=5&checkpolicy=no&rtl=no&bg=000000&text=000000&leftbg=080400&lefticon=010a08&volslider=ff0000&voltrack=ffffff&rightbg=ffffff&rightbghover=ffffff&righticon=000000&righticonhover=ffffff&track=ffffff&loader=ff0000&border=000000&tracker=ff0000&skip=ffffff&soundFile=aHR0cDovL2hoaGVhZC5jb20vd3AtY29udGVudC91cGxvYWRzLzAyLTQtNS02Lm1wMw&playerID=audioplayer_3" name="flashvars"></object><script type="text/javascript">AudioPlayer.embed("audioplayer_3", {soundFile:"aHR0cDovL2hoaGVhZC5jb20vd3AtY29udGVudC91cGxvYWRzLzAyLTQtNS02Lm1wMw"});</script></p> <p>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.<br /><em><br />It’s A Shame</em></p> <p class="audioplayer_container"><object id="audioplayer_4" data="http://hhhead.com/wp-content/plugins/audio-player-1/assets/player.swf?ver=20080825040617" style="outline-color: -moz-use-text-color; outline-style: none; outline-width: medium; visibility: visible;" name="audioplayer_4" type="application/x-shockwave-flash" width="290" height="24"><param value="#FFFFFF" name="bgcolor"><param value="transparent" name="wmode"><param value="false" name="menu"><param value="animation=yes&encode=yes&initialvolume=75&remaining=yes&noinfo=no&buffer=5&checkpolicy=no&rtl=no&bg=000000&text=000000&leftbg=080400&lefticon=010a08&volslider=ff0000&voltrack=ffffff&rightbg=ffffff&rightbghover=ffffff&righticon=000000&righticonhover=ffffff&track=ffffff&loader=ff0000&border=000000&tracker=ff0000&skip=ffffff&soundFile=aHR0cDovL2hoaGVhZC5jb20vd3AtY29udGVudC91cGxvYWRzLzAzLWl0cy1hLXNoYW1lLm1wMw&playerID=audioplayer_4" name="flashvars"></object><script type="text/javascript">AudioPlayer.embed("audioplayer_4", {soundFile:"aHR0cDovL2hoaGVhZC5jb20vd3AtY29udGVudC91cGxvYWRzLzAzLWl0cy1hLXNoYW1lLm1wMw"});</script></p> <p>The description of Tammy is priceless.</p> <blockquote><p>“Her name is Tammy, got a beach house in Miami<br />Rides around with a small jammy in her silk and satin panties<br />A down hoe, a Foxy Brown hoe, standin her ground hoe<br />And if you clown yo she’ll turn into a bust a round hoe”</p></blockquote> <p>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.</p> <p><em>Take ‘Em To War</em> (Feat. MF Grimm and B1)</p> <p class="audioplayer_container"><object id="audioplayer_5" data="http://hhhead.com/wp-content/plugins/audio-player-1/assets/player.swf?ver=20080825040617" style="outline-color: -moz-use-text-color; outline-style: none; outline-width: medium; visibility: visible;" name="audioplayer_5" type="application/x-shockwave-flash" width="290" height="24"><param value="#FFFFFF" name="bgcolor"><param value="transparent" name="wmode"><param value="false" name="menu"><param value="animation=yes&encode=yes&initialvolume=75&remaining=yes&noinfo=no&buffer=5&checkpolicy=no&rtl=no&bg=000000&text=000000&leftbg=080400&lefticon=010a08&volslider=ff0000&voltrack=ffffff&rightbg=ffffff&rightbghover=ffffff&righticon=000000&righticonhover=ffffff&track=ffffff&loader=ff0000&border=000000&tracker=ff0000&skip=ffffff&soundFile=aHR0cDovL2hoaGVhZC5jb20vd3AtY29udGVudC91cGxvYWRzLzA0LXRha2UtZW0tdG8td2FyLWZlYXQtYjEtZ3JpbW0ubXAzA&playerID=audioplayer_5" name="flashvars"></object><script type="text/javascript">AudioPlayer.embed("audioplayer_5", {soundFile:"aHR0cDovL2hoaGVhZC5jb20vd3AtY29udGVudC91cGxvYWRzLzA0LXRha2UtZW0tdG8td2FyLWZlYXQtYjEtZ3JpbW0ubXAzA"});</script></p> <p>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 <em>Rawkus</em> legend B1. Launching an onslaught of lyricism that lasts for just one minute, but is remarkably vivid in it’s duration.</p> <p><em>Executioner Style</em></p> <p class="audioplayer_container"><object id="audioplayer_6" data="http://hhhead.com/wp-content/plugins/audio-player-1/assets/player.swf?ver=20080825040617" style="outline-color: -moz-use-text-color; outline-style: none; outline-width: medium; visibility: visible;" name="audioplayer_6" type="application/x-shockwave-flash" width="290" height="24"><param value="#FFFFFF" name="bgcolor"><param value="transparent" name="wmode"><param value="false" name="menu"><param value="animation=yes&encode=yes&initialvolume=75&remaining=yes&noinfo=no&buffer=5&checkpolicy=no&rtl=no&bg=000000&text=000000&leftbg=080400&lefticon=010a08&volslider=ff0000&voltrack=ffffff&rightbg=ffffff&rightbghover=ffffff&righticon=000000&righticonhover=ffffff&track=ffffff&loader=ff0000&border=000000&tracker=ff0000&skip=ffffff&soundFile=aHR0cDovL2hoaGVhZC5jb20vd3AtY29udGVudC91cGxvYWRzLzA1LWV4ZWN1dGlvbmVyLXN0eWxlLm1wMw&playerID=audioplayer_6" name="flashvars"></object><script type="text/javascript">AudioPlayer.embed("audioplayer_6", {soundFile:"aHR0cDovL2hoaGVhZC5jb20vd3AtY29udGVudC91cGxvYWRzLzA1LWV4ZWN1dGlvbmVyLXN0eWxlLm1wMw"});</script></p> <p>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.</p> <p><em>For Da Brothaz</em></p> <p class="audioplayer_container"><object id="audioplayer_7" data="http://hhhead.com/wp-content/plugins/audio-player-1/assets/player.swf?ver=20080825040617" style="outline-color: -moz-use-text-color; outline-style: none; outline-width: medium; visibility: visible;" name="audioplayer_7" type="application/x-shockwave-flash" width="290" height="24"><param value="#FFFFFF" name="bgcolor"><param value="transparent" name="wmode"><param value="false" name="menu"><param value="animation=yes&encode=yes&initialvolume=75&remaining=yes&noinfo=no&buffer=5&checkpolicy=no&rtl=no&bg=000000&text=000000&leftbg=080400&lefticon=010a08&volslider=ff0000&voltrack=ffffff&rightbg=ffffff&rightbghover=ffffff&righticon=000000&righticonhover=ffffff&track=ffffff&loader=ff0000&border=000000&tracker=ff0000&skip=ffffff&soundFile=aHR0cDovL2hoaGVhZC5jb20vd3AtY29udGVudC91cGxvYWRzLzA2LWZvci1kYS1icm90aGF6Lm1wMw&playerID=audioplayer_7" name="flashvars"></object><script type="text/javascript">AudioPlayer.embed("audioplayer_7", {soundFile:"aHR0cDovL2hoaGVhZC5jb20vd3AtY29udGVudC91cGxvYWRzLzA2LWZvci1kYS1icm90aGF6Lm1wMw"});</script></p> <p>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.</p> <p><em>Blowin Up In The World</em></p> <p class="audioplayer_container"><object id="audioplayer_8" data="http://hhhead.com/wp-content/plugins/audio-player-1/assets/player.swf?ver=20080825040617" style="outline-color: -moz-use-text-color; outline-style: none; outline-width: medium; visibility: visible;" name="audioplayer_8" type="application/x-shockwave-flash" width="290" height="24"><param value="#FFFFFF" name="bgcolor"><param value="transparent" name="wmode"><param value="false" name="menu"><param value="animation=yes&encode=yes&initialvolume=75&remaining=yes&noinfo=no&buffer=5&checkpolicy=no&rtl=no&bg=000000&text=000000&leftbg=080400&lefticon=010a08&volslider=ff0000&voltrack=ffffff&rightbg=ffffff&rightbghover=ffffff&righticon=000000&righticonhover=ffffff&track=ffffff&loader=ff0000&border=000000&tracker=ff0000&skip=ffffff&soundFile=aHR0cDovL2hoaGVhZC5jb20vd3AtY29udGVudC91cGxvYWRzLzA3LWJsb3dpbi11cC1pbi10aGUtd29ybGQubXAzA&playerID=audioplayer_8" name="flashvars"></object><script type="text/javascript">AudioPlayer.embed("audioplayer_8", {soundFile:"aHR0cDovL2hoaGVhZC5jb20vd3AtY29udGVudC91cGxvYWRzLzA3LWJsb3dpbi11cC1pbi10aGUtd29ybGQubXAzA"});</script></p> <p>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).</p> <p><em>Fast Life (feat. Nas)</em></p> <p class="audioplayer_container"><object id="audioplayer_9" data="http://hhhead.com/wp-content/plugins/audio-player-1/assets/player.swf?ver=20080825040617" style="outline-color: -moz-use-text-color; outline-style: none; outline-width: medium; visibility: visible;" name="audioplayer_9" type="application/x-shockwave-flash" width="290" height="24"><param value="#FFFFFF" name="bgcolor"><param value="transparent" name="wmode"><param value="false" name="menu"><param value="animation=yes&encode=yes&initialvolume=75&remaining=yes&noinfo=no&buffer=5&checkpolicy=no&rtl=no&bg=000000&text=000000&leftbg=080400&lefticon=010a08&volslider=ff0000&voltrack=ffffff&rightbg=ffffff&rightbghover=ffffff&righticon=000000&righticonhover=ffffff&track=ffffff&loader=ff0000&border=000000&tracker=ff0000&skip=ffffff&soundFile=aHR0cDovL2hoaGVhZC5jb20vd3AtY29udGVudC91cGxvYWRzLzA4LWZhc3QtbGlmZS1mZWF0LW5hcy5tcDM&playerID=audioplayer_9" name="flashvars"></object><script type="text/javascript">AudioPlayer.embed("audioplayer_9", {soundFile:"aHR0cDovL2hoaGVhZC5jb20vd3AtY29udGVudC91cGxvYWRzLzA4LWZhc3QtbGlmZS1mZWF0LW5hcy5tcDM"});</script></p> <p>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.</p> <p><em>Ghetto Knows</em></p> <p class="audioplayer_container"><object id="audioplayer_10" data="http://hhhead.com/wp-content/plugins/audio-player-1/assets/player.swf?ver=20080825040617" style="outline-color: -moz-use-text-color; outline-style: none; outline-width: medium; visibility: visible;" name="audioplayer_10" type="application/x-shockwave-flash" width="290" height="24"><param value="#FFFFFF" name="bgcolor"><param value="transparent" name="wmode"><param value="false" name="menu"><param value="animation=yes&encode=yes&initialvolume=75&remaining=yes&noinfo=no&buffer=5&checkpolicy=no&rtl=no&bg=000000&text=000000&leftbg=080400&lefticon=010a08&volslider=ff0000&voltrack=ffffff&rightbg=ffffff&rightbghover=ffffff&righticon=000000&righticonhover=ffffff&track=ffffff&loader=ff0000&border=000000&tracker=ff0000&skip=ffffff&soundFile=aHR0cDovL2hoaGVhZC5jb20vd3AtY29udGVudC91cGxvYWRzLzA5LWdoZXR0by1rbm93cy5tcDM&playerID=audioplayer_10" name="flashvars"></object><script type="text/javascript">AudioPlayer.embed("audioplayer_10", {soundFile:"aHR0cDovL2hoaGVhZC5jb20vd3AtY29udGVudC91cGxvYWRzLzA5LWdoZXR0by1rbm93cy5tcDM"});</script></p> <p>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.</p> <p>I think it’s fair to say that <em>4,5,6</em> is not a very well-produced album, an mirror image of <em>Lifestylez ov Da Poor and Dangerous</em> 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 <em>4,5,6</em>, but countless rappers would try their hand at it. Well, imitation is the highest form of flattery Mr. Wilson.</p><p>0-20: Terrible listening experience<br />21-40: Maybe one good song<br />41-60: A few good songs<br />61-80: Half are good songs, half are weak<br />81-100: Great listening experience, almost all are great songs</p><p>I gotta give this one an 93.<br /></p><p><a href="http://www.mediafire.com/?yfynd0d1udm">Cop it here</a><br /></p>Guy Fawkeshttp://www.blogger.com/profile/15188947421727982730noreply@blogger.com5tag:blogger.com,1999:blog-4019147611321260085.post-7131555015730368352009-02-24T13:37:00.000-08:002009-02-24T13:38:04.235-08:00Nas-IllmaticI decided to re-review this joint. Enjoy.<br /><br /><div class="entry"> <p><img class="alignnone size-full wp-image-12" title="illmatic" src="http://illword.com/wp-content/uploads/2009/02/illmatic.jpg" alt="illmatic" width="499" height="495" /></p> <p><strong>Intro</strong></p> <p>April 19, 1994. A single tape of 39 minutes and 43 seconds revolutionizes an art form called hip-hop. No matter what precedes this album nor what comes after, April 20th was a new day for hip-hop. Just like the later predecessors drew influence from innovative artists like Rakim, Big Daddy Kane, and Krs-One, such was Nas’ influence on hip-hop. In many senses <em>Illmatic</em> became a manual of sorts, a holistic Qu’ran for any rapper truly seeking the approval of underground heads. <em>Illmatic</em> was Nas’ <em>Starry Night</em>, the endless ideal that even the architect would never again achieve. Aside from being a cultural bookmark and divisor, this album also clearly marks Nas progression from lazy-eyed freestyle kingpin to someone who truly deserved the cosign from Main Source and MC Serch. Chronicling the rise of a young street dweller who came up in an almost the identical pattern as Big Daddy Kane. Starting off on a classic posse cut - for Kane it was <em>The Symphony</em>, for Nasir it was <em>Back To The Grill</em> and <em>Live At The Barbeque - </em>and then growing to infamy with a classic first album. Both <em>Long Live The Kane</em> and <em>Illmatic</em> also only consist of 10 songs. However, that’s where the comparisons end. Kane entered the history books but Nas re-wrote the history books.</p> <p><strong>Review</strong></p> <p><em>The Genesis</em></p> <p>Back in the day when Q-Tip was a teenager, intro’s like these were a dime a dozen. In reality, it may seem like it’s just Nas and AZ bullshittin’ over an prehistoric Grand Wizard Theodore instrumental- <em>Subway Theme</em> to be exact- but this track unconsciously sets the tone for the rest of the album. <strong></strong></p> <p><em>N.Y. State Of Mind</em></p> <p class="audioplayer_container"><object id="audioplayer_1" data="http://illword.com/wp-content/plugins/audio-player/assets/player.swf?ver=20080825040617" style="outline-color: -moz-use-text-color; outline-style: none; outline-width: medium; visibility: visible;" name="audioplayer_1" type="application/x-shockwave-flash" width="290" height="24"><param value="#FFFFFF" name="bgcolor"><param value="transparent" name="wmode"><param value="false" name="menu"><param value="animation=yes&encode=yes&initialvolume=60&remaining=no&noinfo=no&buffer=5&checkpolicy=no&rtl=no&bg=050000&text=333333&leftbg=0d0101&lefticon=333333&volslider=666666&voltrack=FFFFFF&rightbg=f5f0f0&rightbghover=999999&righticon=333333&righticonhover=FFFFFF&track=FFFFFF&loader=009900&border=CCCCCC&tracker=DDDDDD&skip=666666&soundFile=aHR0cDovL2lsbHdvcmQuY29tL3dwLWNvbnRlbnQvdXBsb2Fkcy8yMDA5LzAyLzAyLW55LXN0YXRlLW9mLW1pbmQubXAzA&playerID=audioplayer_1" name="flashvars"></object><script type="text/javascript">AudioPlayer.embed("audioplayer_1", {soundFile:"aHR0cDovL2lsbHdvcmQuY29tL3dwLWNvbnRlbnQvdXBsb2Fkcy8yMDA5LzAyLzAyLW55LXN0YXRlLW9mLW1pbmQubXAzA"});</script></p> <p><strong></strong></p> <p>This song is why <em>The Genesis</em> is such an effective intro. You expect to hear a lounged-back Main Source (<em>Live At The Barbeque</em>) sound, but Primo and Nas deliver anything but. Those dirty drums start kicking, that bassline just floats along the instrumental, and the one piano key ominously ends the loop. Nas adds a memorable first verse that seems to never end, but still effortlessly seams into the hook. Simplistic beyond comparison, yet all Primo needs is a quick vocal from Eric B and Rakim’s <em>Mahogany</em> and Nas is off. In the second verse, Nas simply unleashes countless quotables until Primo lets the beat go.</p> <p><em>Life’s A Bitch</em></p> <p class="audioplayer_container"><object id="audioplayer_2" data="http://illword.com/wp-content/plugins/audio-player/assets/player.swf?ver=20080825040617" style="outline-color: -moz-use-text-color; outline-style: none; outline-width: medium; visibility: visible;" name="audioplayer_2" type="application/x-shockwave-flash" width="290" height="24"><param value="#FFFFFF" name="bgcolor"><param value="transparent" name="wmode"><param value="false" name="menu"><param value="animation=yes&encode=yes&initialvolume=60&remaining=no&noinfo=no&buffer=5&checkpolicy=no&rtl=no&bg=050000&text=333333&leftbg=0d0101&lefticon=333333&volslider=666666&voltrack=FFFFFF&rightbg=f5f0f0&rightbghover=999999&righticon=333333&righticonhover=FFFFFF&track=FFFFFF&loader=009900&border=CCCCCC&tracker=DDDDDD&skip=666666&soundFile=aHR0cDovL2lsbHdvcmQuY29tL3dwLWNvbnRlbnQvdXBsb2Fkcy8yMDA5LzAyLzAzLWxpZmVzLWEtYml0Y2gubXAzA&playerID=audioplayer_2" name="flashvars"></object><script type="text/javascript">AudioPlayer.embed("audioplayer_2", {soundFile:"aHR0cDovL2lsbHdvcmQuY29tL3dwLWNvbnRlbnQvdXBsb2Fkcy8yMDA5LzAyLzAzLWxpZmVzLWEtYml0Y2gubXAzA"});</script></p> <p>You go from the chill freestyle vibe of <em>N.Y. State Of Mind</em> to the comfortably rushed atmosphere that engrosses this whole song. Regardless, AZ has earned unanimous acclaim for his verse simply annihilating L.E.S.’s jazz-tinged masterpiece. However, Nas answers back with an equally poignant lyrical performance. But, it’s Olu Dara who kills it on the cornet, when L.E.S. allows his instrumental to flow free.</p> <p><em>The World Is Yours</em></p> <p class="audioplayer_container"><object id="audioplayer_3" data="http://illword.com/wp-content/plugins/audio-player/assets/player.swf?ver=20080825040617" style="outline-color: -moz-use-text-color; outline-style: none; outline-width: medium; visibility: visible;" name="audioplayer_3" type="application/x-shockwave-flash" width="290" height="24"><param value="#FFFFFF" name="bgcolor"><param value="transparent" name="wmode"><param value="false" name="menu"><param value="animation=yes&encode=yes&initialvolume=60&remaining=no&noinfo=no&buffer=5&checkpolicy=no&rtl=no&bg=050000&text=333333&leftbg=0d0101&lefticon=333333&volslider=666666&voltrack=FFFFFF&rightbg=f5f0f0&rightbghover=999999&righticon=333333&righticonhover=FFFFFF&track=FFFFFF&loader=009900&border=CCCCCC&tracker=DDDDDD&skip=666666&soundFile=aHR0cDovL2lsbHdvcmQuY29tL3dwLWNvbnRlbnQvdXBsb2Fkcy8yMDA5LzAyLzA0LXRoZS13b3JsZC1pcy15b3Vycy5tcDM&playerID=audioplayer_3" name="flashvars"></object><script type="text/javascript">AudioPlayer.embed("audioplayer_3", {soundFile:"aHR0cDovL2lsbHdvcmQuY29tL3dwLWNvbnRlbnQvdXBsb2Fkcy8yMDA5LzAyLzA0LXRoZS13b3JsZC1pcy15b3Vycy5tcDM"});</script></p> <p>To this day, Pete Rock has never bested this masterpiece. As a producer, Pete has an legacy of often outshining the artists that utilize his instrumentals. Not so here, it’s a purely synchronous sound that is made for each other, the hip hop version of peanut butter & jelly. It’s ironic how Nas changes subjects in the middle of the song. First verse is a dead-on Scarface impression that would make Brad Jordan blush, but the second verse is pure brilliance disguised as braggadocio.</p> <p><em>Halftime</em></p> <p class="audioplayer_container"><object id="audioplayer_4" data="http://illword.com/wp-content/plugins/audio-player/assets/player.swf?ver=20080825040617" style="outline-color: -moz-use-text-color; outline-style: none; outline-width: medium; visibility: visible;" name="audioplayer_4" type="application/x-shockwave-flash" width="290" height="24"><param value="#FFFFFF" name="bgcolor"><param value="transparent" name="wmode"><param value="false" name="menu"><param value="animation=yes&encode=yes&initialvolume=60&remaining=no&noinfo=no&buffer=5&checkpolicy=no&rtl=no&bg=050000&text=333333&leftbg=0d0101&lefticon=333333&volslider=666666&voltrack=FFFFFF&rightbg=f5f0f0&rightbghover=999999&righticon=333333&righticonhover=FFFFFF&track=FFFFFF&loader=009900&border=CCCCCC&tracker=DDDDDD&skip=666666&soundFile=aHR0cDovL2lsbHdvcmQuY29tL3dwLWNvbnRlbnQvdXBsb2Fkcy8yMDA5LzAyLzA1LWhhbGZ0aW1lLm1wMw&playerID=audioplayer_4" name="flashvars"></object><script type="text/javascript">AudioPlayer.embed("audioplayer_4", {soundFile:"aHR0cDovL2lsbHdvcmQuY29tL3dwLWNvbnRlbnQvdXBsb2Fkcy8yMDA5LzAyLzA1LWhhbGZ0aW1lLm1wMw"});</script></p> <p>Don’t ever doubt Large Professor! Who else has the audacity to sample Jaz-O in the presence of Average White Band? Nas, not to be bested, changes up the flow two or three times per verse. Word to Marcus Garvey. Those steely drums are just one of a kind, and are just begging to be sampled. More impressive, are all the cultural tidbits Nas manages to drop in four minute’s time, while addressing his own problems at the same time. Don’t plant that seed, if you can’t feed is the moral of this story.</p> <p><em>Memory Lane</em></p> <p class="audioplayer_container"><object id="audioplayer_5" data="http://illword.com/wp-content/plugins/audio-player/assets/player.swf?ver=20080825040617" style="outline-color: -moz-use-text-color; outline-style: none; outline-width: medium; visibility: visible;" name="audioplayer_5" type="application/x-shockwave-flash" width="290" height="24"><param value="#FFFFFF" name="bgcolor"><param value="transparent" name="wmode"><param value="false" name="menu"><param value="animation=yes&encode=yes&initialvolume=60&remaining=no&noinfo=no&buffer=5&checkpolicy=no&rtl=no&bg=050000&text=333333&leftbg=0d0101&lefticon=333333&volslider=666666&voltrack=FFFFFF&rightbg=f5f0f0&rightbghover=999999&righticon=333333&righticonhover=FFFFFF&track=FFFFFF&loader=009900&border=CCCCCC&tracker=DDDDDD&skip=666666&soundFile=aHR0cDovL2lsbHdvcmQuY29tL3dwLWNvbnRlbnQvdXBsb2Fkcy8yMDA5LzAyLzA2LW1lbW9yeS1sYW5lLXNpdHRpbi1pbi1kYS1wYXJrLm1wMw&playerID=audioplayer_5" name="flashvars"></object><script type="text/javascript">AudioPlayer.embed("audioplayer_5", {soundFile:"aHR0cDovL2lsbHdvcmQuY29tL3dwLWNvbnRlbnQvdXBsb2Fkcy8yMDA5LzAyLzA2LW1lbW9yeS1sYW5lLXNpdHRpbi1pbi1kYS1wYXJrLm1wMw"});</script></p> <p>Nas changes up from a fast-slow, up-down flow to a consistent one, and simply unleashes a verbal tangent that will never be equaled. This sounds nothing like Primo though, doesn’t fit in with his catalogue by any means, nonetheless Primo comes through with some crazy samples on this one. That ever-present moaning on loop is<em> Get out of My Life, Woman </em>by Lee Dorsey, and perhaps the greatest sample DJ Premier ever used is <em>Pickin’ Boogers</em> by Biz Markie. That was good thinking. I still freeze up a little when I hear the last two bars of this song:</p> <blockquote><p><span style=";font-family:Verdana;font-size:large;" ><span style="font-size:x-small;">True in the game, as long as blood is blue in my veins<br />I pour my Heineken brew to my deceased crew on memory lane<br /></span></span></p></blockquote> <p><em>One Love</em></p> <p class="audioplayer_container"><object id="audioplayer_6" data="http://illword.com/wp-content/plugins/audio-player/assets/player.swf?ver=20080825040617" style="outline-color: -moz-use-text-color; outline-style: none; outline-width: medium; visibility: visible;" name="audioplayer_6" type="application/x-shockwave-flash" width="290" height="24"><param value="#FFFFFF" name="bgcolor"><param value="transparent" name="wmode"><param value="false" name="menu"><param value="animation=yes&encode=yes&initialvolume=60&remaining=no&noinfo=no&buffer=5&checkpolicy=no&rtl=no&bg=050000&text=333333&leftbg=0d0101&lefticon=333333&volslider=666666&voltrack=FFFFFF&rightbg=f5f0f0&rightbghover=999999&righticon=333333&righticonhover=FFFFFF&track=FFFFFF&loader=009900&border=CCCCCC&tracker=DDDDDD&skip=666666&soundFile=aHR0cDovL2lsbHdvcmQuY29tL3dwLWNvbnRlbnQvdXBsb2Fkcy8yMDA5LzAyLzA3LW9uZS1sb3ZlLm1wMw&playerID=audioplayer_6" name="flashvars"></object><script type="text/javascript">AudioPlayer.embed("audioplayer_6", {soundFile:"aHR0cDovL2lsbHdvcmQuY29tL3dwLWNvbnRlbnQvdXBsb2Fkcy8yMDA5LzAyLzA3LW9uZS1sb3ZlLm1wMw"});</script></p> <p>The Abstract comes through with an instrumental of majestic proportions, not at all comparable to the work of Ali Shaheed Muhammad. It’s interesting to hear Q-Tip’s productions, since he could always hold his own on an MPC, but subsequently let Ali Shaheed Muhammad handle the work behind the breaks. On a linguistic tip, this song comes much weaker than the predecessing tracks, but Nas shows flashes of the indirect storytelling that would flesh out later with the ill-fated Firm. From 4:19 and onwards Nas bullies this instrumental lyrically.</p> <p><em>One Time 4 Your Mind</em></p> <p class="audioplayer_container"><object id="audioplayer_7" data="http://illword.com/wp-content/plugins/audio-player/assets/player.swf?ver=20080825040617" style="outline-color: -moz-use-text-color; outline-style: none; outline-width: medium; visibility: visible;" name="audioplayer_7" type="application/x-shockwave-flash" width="290" height="24"><param value="#FFFFFF" name="bgcolor"><param value="transparent" name="wmode"><param value="false" name="menu"><param value="animation=yes&encode=yes&initialvolume=60&remaining=no&noinfo=no&buffer=5&checkpolicy=no&rtl=no&bg=050000&text=333333&leftbg=0d0101&lefticon=333333&volslider=666666&voltrack=FFFFFF&rightbg=f5f0f0&rightbghover=999999&righticon=333333&righticonhover=FFFFFF&track=FFFFFF&loader=009900&border=CCCCCC&tracker=DDDDDD&skip=666666&soundFile=aHR0cDovL2lsbHdvcmQuY29tL3dwLWNvbnRlbnQvdXBsb2Fkcy8yMDA5LzAyLzA4LW9uZS10aW1lLTQteW91ci1taW5kLm1wMw&playerID=audioplayer_7" name="flashvars"></object><script type="text/javascript">AudioPlayer.embed("audioplayer_7", {soundFile:"aHR0cDovL2lsbHdvcmQuY29tL3dwLWNvbnRlbnQvdXBsb2Fkcy8yMDA5LzAyLzA4LW9uZS10aW1lLTQteW91ci1taW5kLm1wMw"});</script></p> <p>A head-bopper in every sense of the word. That slow flow, the effortless rhyming that just simultaneously ensues from this immaculate blunt-head’s paradise. Large Pro comes through again with an deep bassline complemented by twangy drums that just slow everything down. Perfection in the form of audio <span style="text-decoration: line-through;">marijuana </span>ganja.</p> <p><em>Represent</em></p> <p class="audioplayer_container"><object id="audioplayer_8" data="http://illword.com/wp-content/plugins/audio-player/assets/player.swf?ver=20080825040617" style="outline-color: -moz-use-text-color; outline-style: none; outline-width: medium; visibility: visible;" name="audioplayer_8" type="application/x-shockwave-flash" width="290" height="24"><param value="#FFFFFF" name="bgcolor"><param value="transparent" name="wmode"><param value="false" name="menu"><param value="animation=yes&encode=yes&initialvolume=60&remaining=no&noinfo=no&buffer=5&checkpolicy=no&rtl=no&bg=050000&text=333333&leftbg=0d0101&lefticon=333333&volslider=666666&voltrack=FFFFFF&rightbg=f5f0f0&rightbghover=999999&righticon=333333&righticonhover=FFFFFF&track=FFFFFF&loader=009900&border=CCCCCC&tracker=DDDDDD&skip=666666&soundFile=aHR0cDovL2lsbHdvcmQuY29tL3dwLWNvbnRlbnQvdXBsb2Fkcy8yMDA5LzAyLzA5LXJlcHJlc2VudC5tcDM&playerID=audioplayer_8" name="flashvars"></object><script type="text/javascript">AudioPlayer.embed("audioplayer_8", {soundFile:"aHR0cDovL2lsbHdvcmQuY29tL3dwLWNvbnRlbnQvdXBsb2Fkcy8yMDA5LzAyLzA5LXJlcHJlc2VudC5tcDM"});</script></p> <p>This marks the transition of Nas from a spiteful yet protagonistic emcee to an rapper with lyrical prowess nearly unmatched. This song sounds much less <em>Illmatic</em> and much more <em>It Was Written</em>, not in a negative sense, but moreso in terms of stylistics and delivery. Like a posse cut, minus the weed carriers and excess baggage. Did Nas really run with a crew called “The Shorty-Busters”? Let’s hope not for his sake, because that’s just embarassing. Also probably the first time I’ve ever seen Primo simply utilizing one sample.<em><br /></em></p> <p><em>It Ain’t Hard To Tell</em></p> <p class="audioplayer_container"><object id="audioplayer_9" data="http://illword.com/wp-content/plugins/audio-player/assets/player.swf?ver=20080825040617" style="outline-color: -moz-use-text-color; outline-style: none; outline-width: medium; visibility: visible;" name="audioplayer_9" type="application/x-shockwave-flash" width="290" height="24"><param value="#FFFFFF" name="bgcolor"><param value="transparent" name="wmode"><param value="false" name="menu"><param value="animation=yes&encode=yes&initialvolume=60&remaining=no&noinfo=no&buffer=5&checkpolicy=no&rtl=no&bg=050000&text=333333&leftbg=0d0101&lefticon=333333&volslider=666666&voltrack=FFFFFF&rightbg=f5f0f0&rightbghover=999999&righticon=333333&righticonhover=FFFFFF&track=FFFFFF&loader=009900&border=CCCCCC&tracker=DDDDDD&skip=666666&soundFile=aHR0cDovL2lsbHdvcmQuY29tL3dwLWNvbnRlbnQvdXBsb2Fkcy8yMDA5LzAyLzEwLWl0LWFpbnQtaGFyZC10by10ZWxsLm1wMw&playerID=audioplayer_9" name="flashvars"></object><script type="text/javascript">AudioPlayer.embed("audioplayer_9", {soundFile:"aHR0cDovL2lsbHdvcmQuY29tL3dwLWNvbnRlbnQvdXBsb2Fkcy8yMDA5LzAyLzEwLWl0LWFpbnQtaGFyZC10by10ZWxsLm1wMw"});</script></p> <p>This instrumental alone is all the imagery you need to envision the 90’s in one complete sound. One of those moving send-off’s that puts you in the right state of mind every time. A N.Y. State Of Mind!</p> <p><strong>Outro</strong></p> <p>It’s fair to say that Illmatic is the best hip hop album of all time, and therefore this review should be worthless to most people. If you don’t already own this album in any capacity, do yourself a favor.</p> <p><span style=";font-family:Verdana;font-size:x-large;" >100</span></p> <p><a href="http://www.amazon.com/Illmatic-Nas/dp/B0000029GA/ref=pd_bbs_sr_1?ie=UTF8&s=music&qid=1235398656&sr=8-1">Amazon Forest</a><br /><a href="http://dismembersonly.blogspot.com/2007/05/nas-illmatic-1994.html">…</a><br /><a href="http://pokitoperohay.blogspot.com/2007/10/400-illmatic-nas.html">…</a><br /><a href="http://thegodfathertrilogy.blogspot.com/2008/08/nas-discography.html">…</a><br /><a href="http://blackpharoahs.blogspot.com/2006/04/nas-discography.html">…</a><br /><a href="http://soundtracksandmore.blogspot.com/2008/04/nas-discography.html">…</a><br /><a href="http://hans-kingofthedrugs.blogspot.com/2008/09/nas-discography.html">…</a><br /><a href="http://www.realraptalk.com/f107/nas-discography-128530/">…</a><br /><a href="http://www.hiphopforfree.com/2008/10/07/nas-discography/">…</a></p> </div>Guy Fawkeshttp://www.blogger.com/profile/15188947421727982730noreply@blogger.com5tag:blogger.com,1999:blog-4019147611321260085.post-53194836207210220422009-02-12T15:10:00.000-08:002009-02-12T17:13:22.693-08:00Skyzoo & 9th Wonder - Cloud 9: The 3 Day High (2006)<img alt="http://2.bp.blogspot.com/_4Sas5oKnxvs/SKjTIWOWeeI/AAAAAAAAA5g/N41xL3tyTX4/s320/skyzoo.jpg" src="http://2.bp.blogspot.com/_4Sas5oKnxvs/SKjTIWOWeeI/AAAAAAAAA5g/N41xL3tyTX4/s320/skyzoo.jpg" /><br />Not sure why, but I thought it would be fitting to review this album. Maybe it's because Statik Selektah (did I spell your name right?) and pro-beef Saigon just made a whole album in one day. Well, it is because of that. Personally, I've got no problem with neither Statik or Saigon. I'm not sure how Saigon got to beefing Joe Budden and I could care less, beef is always about record sales. It's like artists make a mutual agreement to beef with each other to sell records and then pay each other back later. But I feel like this one day thing is a gimmick. How can you honestly say that you created the best product you can in one day? That's like how Swizz Beatz brags that he makes most of his beats in less than an hour. That's cool and all, but Swizzy: you still can't produce! With that in mind, Skyzoo and 9th Wonder created this composition in three days. The <span style="font-style: italic;">clever</span> title would suggest they were fuckin' with some cannibus during the process. Like I said, clever. Anyway, the real reason I chose this is because it's only 12 tracks. So, here we go:<br /><br /><span style="font-weight: bold;">1.</span> <span style="font-style: italic;">Bare Witness</span><br />There's nothing more pretentious than explaining the title of your album. Reminds me of when Biggie explained the "Two Pac's" joke on <a href="http://www.youtube.com/watch?v=RXcxex7-148"><span style="font-style: italic;">Brooklyn's Finest</span></a>, 3:21 if you don't know. I also found it kind of funny how Skyzoo had to explain that he knew 9th and described how we acquired 9th's beat tapes. As for the song? It comes really weak. 9th tries his hand at a Primo impersonation, and Skyzoo just comes weak all around, on the hook, on the verses...<br /><br /><span style="font-weight: bold;">2.</span> <span style="font-style: italic;">Way To Go</span><br />This the production we've all come to expect from 9th, just killing it with the samples. Once again Skyzoo does a little too much talking and sounds like a little bit of a jackass, but once the beat kicks he does his thing and rips this instrumental. Really impressed me with the flow and the rhymes.<br /><br /><span style="font-weight: bold;">3.</span> <span style="font-style: italic;">A Day In The Life</span><br />I'm usually the first person to say that 9th Wonder needs to expirement more, or use something other than Fruity Loops, but he steps outside of his comfort zone here and the result is painful to listen to. Brave soldiers ready your ears. It's not that bad, but this track came <span style="font-weight: bold;">really</span> weak. Mostly because Skyzoo isn't one of those rappers that can take a bad beat and still kill it. And you already know the hook is wack.<br /><br /><span style="font-weight: bold;">4.</span> <span style="font-style: italic;">Stop Fooling Yourself</span><br />These are those crazy samples that make 9th one of today's best crate-diggers! I just tuned out to this beautiful instrumental. Don't really remember what Skyzoo was talking about, ripping his acceptance letter or something. Oh well...<br /><br /><span style="font-weight: bold;">5.</span> <span style="font-style: italic;">Comeback</span><br />Nah. This was a track for the ladies, and it was even softer than I expected. Definite skip/delete.<br /><br /><span style="font-weight: bold;">6. </span><span style="font-style: italic;">I'm On It</span><br />Did I mention that Skyzoo can't make a listenable hook to save his life? It's not a bad track, but the chorus is just so wack. Ruins whatever replay potential this song could have had.<br /><br /><span style="font-weight: bold;">7.</span> <span style="font-style: italic;">The Bodega</span><br />Banger. All I can say is that all my previous criticism for Skyzoo and 9th is null and void on this one. Easily the best track so far.<br /><br /><span style="font-weight: bold;">8. </span><span style="font-style: italic;">You & Me</span><br />Another track for the ladies, but this one wasn't as bad as it's predecessor. The hook was weak as fuck again, but other than that it's another quality composition. Really starting to groove with 9th behind the boards right now.<br /><br /><span style="font-weight: bold;">9.</span> <span style="font-style: italic;">Live And Direct</span><br />Very average, like I wanted to vibe with 9th's beat and what Skyzoo was saying, but I simply couldn't. You know the feeling.<br /><br /><span style="font-weight: bold;">10.</span> <span style="font-style: italic;">The Spirit</span><br />Skyzoo outshines 9th here. Not a bad beat, but the lyrics were on point, and the whole track was ill.<br /><br /><span style="font-weight: bold;">11.</span> <span style="font-style: italic;">Extreme Measures</span><br />Skyzoo tries his hand at <span style="font-style: italic;">Brenda's Got A Baby</span> to little avail. Kind of a sleeper despite the vicious instrumental.<br /><br /><span style="font-weight: bold;">12.</span> <span style="font-style: italic;">Mirror Mirror</span><br />Did you honestly expect much from this title? Just an average outro minus the interlude feel of an average outro.<br /><br />Decent, not much more, not much less. I had been hearing a lot about Skyzoo and I found him to be super-average. 9th comes through as usual, although he sprays in a few wack beats here and there. Overall, it's a decent mixtape, but I don't see any reason to go out of your way to cop this.<br /><br />0-20: Terrible listening experience<br />21-40: Maybe one good song<br />41-60: A few good songs<br />61-80: Half are good songs, half are weak<br />81-100: Great listening experience, almost all are great songs<br /><br />I'd give this a 71.<br /><br />Link <a href="http://subversom.blogspot.com/2009/01/skyzoo-9th-wonder-cloud-9-3-day-high.html">here</a>.Guy Fawkeshttp://www.blogger.com/profile/15188947421727982730noreply@blogger.com5tag:blogger.com,1999:blog-4019147611321260085.post-45974647208389865582009-01-23T10:38:00.000-08:002009-01-26T12:50:09.803-08:00Del Tha Funkee Homosapien- No Need For Alarm<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDuz03p3b2By2ktVbHWJbCKivH3aFcP2nrZd5fy55ZSWrHLB2iSXnvB9MEejSYrs_kwhyphenhypheny9rCEARNIdbcMib79Qc3T1skGKVgRhwUkD842WnJCyDhP2I1A1DC2gwLwwTf_CcoIIHOQHGQ/s1600-h/53771.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 300px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDuz03p3b2By2ktVbHWJbCKivH3aFcP2nrZd5fy55ZSWrHLB2iSXnvB9MEejSYrs_kwhyphenhypheny9rCEARNIdbcMib79Qc3T1skGKVgRhwUkD842WnJCyDhP2I1A1DC2gwLwwTf_CcoIIHOQHGQ/s320/53771.jpg" alt="" id="BLOGGER_PHOTO_ID_5294582232990566274" border="0" /></a>Lately I've been bumpin <span style="font-style: italic;">Deltron 3030</span> like none other. Believe me when I tell you this: Only <span style="font-style: italic;">Soul On Ice</span> Ras Kass can compare to Tha Funkee Homosapien on a lyrical level. After wearing out the speakers in the car listening to <span style="font-style: italic;">Things You Can Do</span>, I finally moved onto Del's short-lived solo discography. I have to say this guy gets slept on like narcolepsy. One of my favorite things about Del is his ability to wreck any beat with his chameleon<span style="font-style: italic;">ic </span>flow. Another is the wide variety of incredibly ill instrumentals he spits over. At this point in time in Del's career he was just beginning to craft his uniquely patented style of trite braggadocio hip-hop mixed with insane wordplay that gives you authentic goosebumps. Enough talk though...<br /><br /><span style="font-weight: bold;">1. You're In Shambles</span><br />The soft jazz in the back-end of the instrumental has always put me in a different mindstate. Something so ethereal about this instrumental. And Del's other-worldly flow and lyricism leave this song in shambles.<br /><br /><span style="font-weight: bold;">2. Catch A Bad One</span><br />If anyone can make meandering violin sound like a traditional hip hop instrument it's definitely Del. This song is dope, but not comparable to <span style="font-style: italic;">You're In Shambles</span>.<br /><br /><span style="font-weight: bold;">3. Wack M.C.'s</span><br />Ahh, the ever-popular early 90's ode to the wack MC or wack crew. I've got a theory that you can find a song like this on almost every hip hop album made in the late 80's and 90's. Del puts his personal spin on it, but it's still really predictable, especially the hook.<br /><br /><span style="font-weight: bold;">4. No Need For Alarm</span><br />It took me a little while to warm up to this track, but I'm really feelin' it as I type. The flow still makes my jaw drop. Whose fucking with Del?<br /><br /><span style="font-weight: bold;">5. Boo Boo Heads</span><br />The hook is funny in a 90's sort of way. Like when kids my age watch <span style="font-style: italic;">Friday</span> and understand the jokes in a "I feel it even though I didn't live it" sense. The flow and insane battle raps are killing me at this point.<br /><br /><span style="font-weight: bold;">6. Treats For The Kiddies</span><br />Title says it all. My only complaint for now is that the last six songs sound like the same thing with a minor beat change. Minor meaning a slight change in the bassline or adding a scratched vocal here and there...<br /><br /><span style="font-weight: bold;">7. Worldwide</span><br />I guess I planned that above statement perfectly as Del lines up some top quality lyricism over this East-Coast instrumental. The guest verse sounds ominously just like Del; the flow, the rhyme scheme... sounds like it might have been *gasp* ghostwritten? Or Del knows how to throw his voice... either way this song is dope.<br /><br /><span style="font-weight: bold;">8. No More Worries</span><br />Let's get this straight. This is the best instrumental on the whole album. Maybe the best instrumental of it's respective year. But Del's guest features sound somewhat awkward over this instrumental. Still an amazing song...<br /><br /><span style="font-weight: bold;">9. Wrong Place</span><br />I can't place my hand on the sample and it's bugging me! Also amazing, is the direction that Del took over this instrumental. Just flipped it completely on it's ass... much props given Mr. Homosapien.<br /><br /><span style="font-weight: bold;">10. In And Out</span><br />Compared to all the previous songs, this one is a snoozer. The instrumental is not engaging at all, so it neglects whatever Del is spitting.<br /><br /><span style="font-weight: bold;">11. Don't Forget</span><br />Another fairly weak beat, but Del rides this one much better. Still a sub-par song when compared to the rest of the album.<br /><br /><span style="font-weight: bold;">12. Miles To Go</span><br />If you look through Del's entire discography you will notice that he does a few songs like this per album. This doesn't sound like it belongs on this album, but it still kicks something crazy...<br /><br /><span style="font-weight: bold;">13. Check It Ooout</span><br />Del slows his flow down, and kills this track. Best song off this classic album, hands down! You'll have to Check It Ooout...<br /><br /><span style="font-weight: bold;">14. Thank Youse</span><br />Very weak ending, but it is an outro, so if you take it into perspective, this song serves it's purpose.<br /><br />Very solid album. Del comes with his own style and keeps it consistent throughout the whole album. Heavy funk and Del's flow just work together, and this album is a joy to listen to.<br /><br />0-20: Terrible listening experience<br />21-40: Maybe one good song<br />41-60: A few good songs<br />61-80: Half are good songs, half are weak<br />81-100: Great listening experience, almost all are great songs<br /><br />I give this album an 86.<br /><br />You can find a link <a href="http://putemon.blogspot.com/2008/07/del-tha-funkee-homosapien-no-need-for.html">here.</a>Guy Fawkeshttp://www.blogger.com/profile/15188947421727982730noreply@blogger.com2tag:blogger.com,1999:blog-4019147611321260085.post-28359974936835553852009-01-13T12:51:00.000-08:002009-01-14T16:14:59.221-08:00Jaylib/Champion Sound<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://cfs2.tistory.com/upload_control/download.blog?fhandle=YmxvZzE0MzI5MkBmczIudGlzdG9yeS5jb206L2F0dGFjaC8wLzE1MDAwMDAwMDAwMS5qcGc="><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 323px; height: 323px;" src="http://cfs2.tistory.com/upload_control/download.blog?fhandle=YmxvZzE0MzI5MkBmczIudGlzdG9yeS5jb206L2F0dGFjaC8wLzE1MDAwMDAwMDAwMS5qcGc=" alt="" border="0" /></a><br />Jaylib - Champion Sound<br /><br />J Dilla. Madlib. Seperately these two super producers have an extensive resume of proof that they know music. On the one hand, the late great Dilla over the years gained respect of a countless amount of musicians, mainstream and underground alike, a feat that is rarely accomplished these days. On the other, Madlib has been working practicly in seclusion under various alias' and seems to never stop releasing music under his own terms. Considering the staggering talent following close behind each of these artists; the expectations for this album are higher than Madlib's Quasimoto voice (another album worth reviewing at some point).<br /><br />One thing to point out before starting the track by track rundown, this may be a collaboration, but with the exception of the first track and the two bonus tracks, Dilla and Madlib produce the beats by themselves. This wasn't sitting around and co-producing each song, but rather the two were sending beats and vocals back and forth between LA and Detroit.<br /><br /><span style="font-weight: bold;">1. LA to Detroit</span><br />This is just an intro, but it shows right off the bat that Dilla's thumping drums go well with Madlib's synthy bass and weird sounds.<br /><br /><span style="font-weight: bold;">2. McNasty Filth (ft. Frank-n-Dank)</span><br />The CD really starts here, and it starts with a Madlib banger. Frank-n-Dank aren't too lyrical but they get the job done and bring the energy needed to match the song.<br /><br /><span style="font-weight: bold;">3. Nowadayz</span><br />Another crazy beat, this time by Dilla. Already it seems that if you're not paying attention you could forget that these are two different producers. I think that's part of what makes this CD work. Even though they didn't work closely together, it still all flows really well. Madlib spits on this one, and it works in a sense of sounding alright and matching the beat, but he's definitely not a lyricist. The way I would describe Madlib as an MC is he keeps it interesting enough that you can listen and not be bored, but he doesn't take the attention away from the music. Not necessarily a bad thing.<br /><br /><span style="font-weight: bold;">4. Champion Sound</span><br />The title track is produced by Madlib and really keeps the momentum going. Like Madlib, Dilla isn't that great lyrically, but the way this album moves and keeps giving you crazy beats it almost doesn't give you time to think about the vocals other than asking whether they match the beat. Dilla can flow even if he's not saying much.<br /><br /><span style="font-weight: bold;">5. The Red</span><br />Despite the piercing guitar(?) loop presented by Dilla, this is one of the instances where the lyrics hinder the overall song. Luckily its only the first half of the song that has lyrics so if you want to just enjoy the beat you can.<br /><br /><span style="font-weight: bold;">6. Heavy</span><br />The title says it all, a heavy repetitive drum loop with Dilla's vocals mimicking the feeling.<br /><br /><span style="font-weight: bold;">7. Raw Shit (ft. Talib Kweli)</span><br />Probably one of the weaker beats on the CD, but Kweli helps this track out a lot. Madlib has the first verse and it's one of his more mediocre so you have to wait through that to get to Kweli, but it's worth it as the song jumps up a few notches once he gets on the mic.<br /><br /><span style="font-weight: bold;">8. The Official</span><br />Great beat. I don't think Dilla's voice matches over it so that kind of brings it down.<br /><br /><span style="font-weight: bold;">9. The Heist</span><br />This is a rare occasion when the beat is actually as average as the lyrics. Madlib tells a story but it really isn't interesting enough to listen closely to.<br /><br /><span style="font-weight: bold;">10. The Mission</span><br />This brings the album back to greatness with what worked before: top notch creative beats and minimal lyrics that just compliment the music. This track kind of feels like an interlude linking the first and second half of the album.<br /><br /><span style="font-weight: bold;">11. React ("ft." Quasimoto)</span><br />This is a real cool/trippy beat, fitting for Madlib's high pitched alter ego Quasimoto to show up. The vocal samples sound really good mixed in here too.<br /><br /><span style="font-weight: bold;">12. Strapped (ft. Guilty Simpson)</span><br />Another unique beat, and Guilty Simpson fits perfectly on this. This especially brings out one of the recurring feels of the album: a mix of grimy sounds and precise instruments. Detroit and Los Angeles. Two great things that shouldn't sound good together, but work anyway.<br /><br /><span style="font-weight: bold;">13. Strip Club ("ft." Quasimoto)</span><br />This is where Madlib works best, light hearted and funny descriptions of things like going to a strip club over an equally lighthearted beat. Nothing groundbreaking here, just fun.<br /><br /><span style="font-weight: bold;">14. The Exclusive (ft. Percee P)</span><br />The beat is really simple, so it puts the spotlight on the lyrics. Unfortunately, Percee P doesn't really deliver a good enough verse and instead this is just a throwaway track.<br /><br /><span style="font-weight: bold;">15. Survival Test</span><br />Madlib brings out a really vibrant sample, and Dilla does a good job only saying as much as he needs to on this.<br /><br /><span style="font-weight: bold;">16. Starz</span><br />Dilla follows up with his own gem of a sample, and Madlib's vocals aren't half bad either.<br /><br /><span style="font-weight: bold;">17. No Games</span><br />The proper final track of the album. Madlib brings in a really soulful sample and they end it with a track that keeps the quick pace but does it in a more low key fashion.<br /><br /><span style="font-weight: bold;">Raw Addict/Pillz</span><br />The two bonus tracks. Both of these are good Madlib tracks, bringing more of his humor and creativity. These are both great tracks but don't really fit anywhere in the album so they're perfect for bonus tracks.<br /><br />There it is. Chances are, this will feel like a short CD as the music is easy to zone out to. As expected from an album made by two producers, the lyrics weren't great, but considering they only had a few guests they managed to turn in vocals that contributed a little to the incredible beats.<br />So did this meet the lofty expectations? I'd say that it's not necessarily what you would expect from hearing "Madlib and J Dilla collaboration", but it does keep the level of quality that the two have been working on for years. Sure, they could've brought a lyricist to do the tracks, but then it wouldn't have been a Madlib/Dilla collab but instead a Madlib/Dilla/____ CD. They also could've done an instrumental, but I think they use their voices almost as instruments more than lyrics.<br />I'm just giving a score to the main album, but a while back Stones Throw re-released the album as a 2 disc set with instrumentals and remixes, and that I highly recommend as even if you don't like the lyrics you can switch them out whenever.<br /><br />0-20: Terrible listening experience<br />21-40: Maybe one good song<br />41-60: A few good songs<br />61-80: Half are good songs, half are weak<br />81-100: Great listening experience, almost all are great song<br /><br />I give this album an 85.Unknownnoreply@blogger.com7tag:blogger.com,1999:blog-4019147611321260085.post-55772870709858856832009-01-10T10:37:00.000-08:002009-01-10T10:40:30.805-08:00Slum Village- Fantastic Vol. 2<div><img style="width: 472px; height: 342px;" alt="http://www.barakentertainment.com/store/images/SlumVillageFantasticVol2.jpg" src="http://www.barakentertainment.com/store/images/SlumVillageFantasticVol2.jpg" /><br />How do you introduce Slum Village? That question has been bugging me for the last hour or so. They are a group like no other, that harbors influences from countless places. The group was spearheaded by arguably the greatest producer of all time. There aren't enough words to describe what J Dilla bought to Slum Village. Very rarely does a producer overshadow the other members of the group (Primo and Pete Rock are examples). Needless to say, Jay Dee is held in very high regard (partly because of his untimely passing, but also because of the amazing work he's done). Alongside Jay were Baatin and T3, less-known but still cornerstones of the group.<br />*Ten useless biographical sentences later*<br />And that's the story of Slum Village. Now it's time for Fantastic Vol.2, hit it!<br /><br /><span style="font-weight: bold;">1. Introduction</span><br />For once I can actually applaud the intro. Although it's kind of ignorant for me to assume that Slum Village would make an average rap album intro. I love the last 7 seconds of this track too.<br /><br /><span style="font-weight: bold;">2. Conant Gardens </span><br />An ode to where the crew grew up. The title is anyway, the lyrics are more reminiscent of braggadocio hip-hop where they effortlessly ride the instrumental while kicking some dope rhymes.<br /><br /><span style="font-weight: bold;">3. I Don't Know</span><br />I don't know why I wasted my time with this track. Baatin and T3 took a capable instrumental and turned it into a snoozer. Next!<br /><br /><span style="font-weight: bold;">4. Jealousy</span><br />Sounds like Jurassic 5 with the choppy flow and the subject matter. This song isn't going to change anyone's life, in fact I can't even imagine anyone remembering this song after hearing it. So, it was a delete for me.<br /><br /><span style="font-weight: bold;">5. Climax (Girl Shit)</span><br />A very soft-spoken track, emitting the warmth only an average R&B tinged J Dilla track can bring. This track bears a very striking likeness to The Tribe Best Known As Quest. Although retaining the qualities that make Slum Village such a well-respected group.<br /><br /><span style="font-weight: bold;">6. Hold Tight</span><br />Another chill, mellow, laid-back track. Although it's somewhat of an aberration as all of Slum's tracks can be described as chill and mellow. This is one of the better Dilla instrumentals off the whole album, as such I would have preferred less features. Q-Tip's verse is nice, but it starts to trail off from there (said in a diminishing voice).<br /><br /><span style="font-weight: bold;">7. Tell Me</span><br />I could do without the weak hook and the strange interlude-esque conversations at the end of the tracks. Once again this song starts off well, it even holds up well till about the halfway mark when the lyrics crash like a house of cards. This Dilla beat is something else though I tell you... Baatin and T3 should still be counting their blessings.<br /><span style="font-weight: bold;"><br />8. What It's All About</span><br />I wish I had something good to say about Busta's verse, or even as an artist in general (Arab Money? That's what your career has come to?). Alas, I'll leave that topic relatively untouched. Another dope beat, interesting sample for the hook, I was feeling this track all in all.<br /><br /><span style="font-weight: bold;">9. Forth And Back</span><br />Nah, wasn't really feeling this one at all. Even the instrumental was pretty weak here. Next.<br /><br /><span style="font-weight: bold;">10. Untitled/Fantastic</span><br />And we're back on track. This song has always mystified me, something so ethereal about this instrumental, and for once I can one up the MC's. They did their thing on this here beat. Possibly the best song on the album, so you already know how I feel about it.<br /><br /><span style="font-weight: bold;">11. Fall In Love</span><br />I honestly prefer the last minute and a half to the beginning of the track. The musical backdrop is something amazing, and the hook is haunting. I don't know what the last 30 or so seconds were about, I'm sure they tied into this recurring plot at the end of every song, but it really detached from the track's overall value.<br /><br /><span style="font-weight: bold;">12. Get Dis Money</span><br />Personally, I don't think anyone should ever spit over this instrumental. And when they do spit over this memento, it should be something more than: "Hey, hey/ What you say/ Get dis money"... Comparable to letting Lil' Wayne freestyle over <span style="font-style: italic;">I Used To Love H.E.R.</span> It's not a bad track at all though. Just that you'd expect Slum Village to dig deep and find lyrics and a hook worthy of this instrumental.<br /><br /><span style="font-weight: bold;">13. Raise It Up</span><br />Not really feeling any of it. Some hypocritical titles here!<br /><br /><span style="font-weight: bold;">14. Once Upon A Time</span><br />Pete Rock and Dilla together produce this beast of an instrumental. And the good folks over at Slum Village grace this track with some poignant lyricism. Thank you. And for once, the last part of the song isn't <span style="font-weight: bold;">completely</span> worthwhile-less.<br /><br /><span style="font-weight: bold;">15. Players</span><br />T3 actually did an interview with <span style="font-style: italic;">Fader</span>, where he talked about this song. One of the things he mentioned is that the sample actually says <span style="font-style: italic;">Claire</span> and not <span style="font-style: italic;">Players</span>. But they say <span style="font-style: italic;">Players</span> so much in the song, that's what you believe the sample is really saying. The song itself is amazing. A classic Slum Village cut. Also here's an quote about the motivation for the track:<br /></div><br /><blockquote><br /><p>People don’t know that was a battle song, only niggas in the D know that. We was actually talking ’bout some real niggas. We’re cool today, but it was actually (deceased rapper) Proof's group (5 Elementz). These niggas had just dropped they CD that Dilla did most of the beats for and they was just acting arrogant, walking around real tough and we got kind of offended by it. Once we started talking about it, Waajeed (from Platinum Pied Pipers) was like a hype man, like, “Man, they just put their shit out, where’s yours?” We went over to Dilla’s house and it was one a them nights where everything was clickin'. Two weeks later we came with <span style="font-style: italic;">Vol.1</span>. They kind of inspired us by being so arrogant, so we made “Players” about them. They found out, I don’t know how…somebody told.</p><br /></blockquote><br /><div><br /><strong>16. Eyes Up</strong></div><div>After the song that preceded it, you're just expecting so much more than this insignificant babble. It's not a bad song, but Baatin and T3 are capable of so much more. Not bad, but definitely lackluster.</div><br /><div> </div><br /><div><strong>17. 2U4U</strong></div><div>Slum Village's two lesser members ruin another good instrumental. They ain't sayin' nothing!</div><br /><div> </div><br /><div><strong>18. CB4</strong></div><div>No Chris Rock references to be found here. The hook has me scratching my head quite a bit. Are they chanting or what? One of the strangest things I've ever heard on wax. Blow-job interference? Cock-blockers? Very clever.As for the song itself, it's not really anything worth hearing.</div><div> </div><br /><div><strong>19. Go Ladies</strong></div><div>There's no rapping to be found here. Some incoherent babbling in the first verse, and it never really gets much better. Another lacking effort over a very capable instrumental.</div><div> </div><br /><div><strong>20. Thelonius</strong></div><div>Ironically, Slum Village treats listeners to a top-quality send off. Superior to most of the album and definitely a song you should check out.</div><div> </div><br /><div>It's hard to really pass judgement on this album. Although the lyrical content was terrible (sorry John), the instrumentals were top-notch. This album reminded me of Group Home's <em>Livin Proof'.</em> Then again Slum Village was never known as amazing lyricists and Jay Dee, in fact most hip hop fans would be hard-pressed to name Baatin and T3 as the other members. So I can't say much about this album on a lyrical level, but an instrumental version of this album would be very well worth your time.<br /><br /><div>0-20: Terrible listening experience</div><div>21-40: Maybe one good song</div><div>41-60: A few good songs</div><div>61-80: Half are good songs, half are weak</div>81-100: Great listening experience, almost all are great song<br /><br />I give this album a 75.<br /><br />You can find a link and a worthwhile review <a href="http://leshake.blogspot.com/2008/06/slum-village-fantastic-vol-2-2000.html">here</a>.<br /></div>Guy Fawkeshttp://www.blogger.com/profile/15188947421727982730noreply@blogger.com5tag:blogger.com,1999:blog-4019147611321260085.post-49674523687122364592008-12-24T13:43:00.000-08:002008-12-25T13:31:13.032-08:00EPMD - We Mean Business<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSdW7CCa4_Tx4WqwBNfwrR_Vkjm6jr8zCOZWSnmu8UszzXfyMJEOXmB6WeLUg9pOppHWZCGnp7xO0CnTxMsi7iJMJTnSrOBy6yLUie136swwkN7NGXYH7u93XSGAnZvYn0QTVC3QBStjA/s1600-h/epmdwemeanbusiness.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 320px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSdW7CCa4_Tx4WqwBNfwrR_Vkjm6jr8zCOZWSnmu8UszzXfyMJEOXmB6WeLUg9pOppHWZCGnp7xO0CnTxMsi7iJMJTnSrOBy6yLUie136swwkN7NGXYH7u93XSGAnZvYn0QTVC3QBStjA/s320/epmdwemeanbusiness.jpg" alt="" id="BLOGGER_PHOTO_ID_5283807675598446722" border="0" /></a><br />No group has ever meant business like EPMD. Parrish Smith and Erick Sermon are the epitome of business. Erick and Parrish have been makin' dollars for over 20 years now. They released their first album in '88 (<span style="font-style: italic;">Strictly Business</span>) and have been East-Coast legends since. As a group they have faced a fair share of turmoil. They separated in '93 and re-united four years later. It wouldn't be for long though because Erick and Parrish haven't released any material for over nine years. Until this December that is when they released <span style="font-style: italic;">We Mean Business</span> amidst controversy of the lack of DJ Scratch. DJ Scratch has been an important part of every EPMD album. In many senses, he is just as important to the group as Erick and Parrish are. So the questions is <span style="font-style: italic;">can they overcome his loss</span>?...<br /><br />1<span style="font-weight: bold;">. Puttin' Work In</span><br />Featuring Raekwon<br />Not a bad start. It's kind of refreshing to hear an album without an rap intro. And it's even more refreshing to hear these hip-hop pioneers together. Don't get me wrong though, this song is far from perfect, but it's also far from obscurity.<br /><br />2<span style="font-weight: bold;">. What You Talkin'</span><br />Featuring Havoc<br />I could do without the superficial hook and the over-exaggerated instrumental, but this track is alright. On a sidenote, I'm surprised Soulja Boy hasn't said anything about EPMD yet. They hit him with this gem:<span style="font-weight: bold;"> "</span><span style="font-style: italic;">The Oscar De La Hoya, the golden boy/I'm not dude, don't believe I'll show ya boy/Ask Destiny's Child/ I'm not Soulja Boy</span><span style="font-weight: bold;">"</span><br /><br />3<span style="font-weight: bold;">. Roc-Da-Spot</span><br />This is definitely what you'd call classic EPMD. The funk sample, the Biggie sample, the hook. Well done. I was feeling this one.<br /><br />4<span style="font-weight: bold;">. Blow</span><br />The first two verses were fire. The last verse was just off. I don't know if it was recorded separately or what, but it just did not sound good at all. It's a good song despite all that though.<br /><br />5<span style="font-weight: bold;">. Run It</span><br />Featuring KRS One<br />KRS One the black educator telling people "<span style="font-style: italic;">Get down on the floor</span>" and making all sorts of ambience sound? Am I missing something? Isn't he supposed to be busy being an positive influence to youngn's? By the way, this song is terrible.<br /><br />6<span style="font-weight: bold;">. Yo</span><br />Featuring Redman<br />Best song off the album period. I said no discussion! Who told Redman it was OK to outshine EPMD on their own album? <a href="http://www.zshare.net/audio/53273229cf448bd6">Check it</a>.<br /><br />7<span style="font-weight: bold;">. Listen Up</span><br />Featuring Teddy Riley<br />Some songs would be better acapella. This is one of them.<br /><br />8<span style="font-weight: bold;">. Bac Stabbers</span><br />You know the phrase "Good idea, poor execution"? Well, this is a case of "Poor idea, good execution", if that makes any sense at all. Leave it to EPMD to make a song for the bac(k) stabbers, and equip some old-school techno sample.<br /><br />9<span style="font-weight: bold;">. Never Defeat 'Em</span><br />Featuring Method Man<br />Erick Sermon sets it off over this engaging instrumental, and Method Man body's his verse. But then Parrish put me to sleep, he does not sound good over this instrumental.<br /><br />10<span style="font-weight: bold;">. Jane</span><br />Every EPMD album has a song called <span style="font-style: italic;">Jane</span>. It is typically just a song for the ladies, and it's no exception this time.<br /><br />11. <span style="font-weight: bold;">Left 4 Dead</span><br />Featuring Skyzoo; Produced by 9th Wonder<br />This song sounds the same way it looks on paper. EPMD is the essence of true school hip-hop, 9th and Skyzoo are two cats who are taking hip-hop where EPMD took them before. Needless to say, this track is crazy, and definitely worth checking out.<br /><br />12<span style="font-weight: bold;">. They Tell Me</span><br />Featuring Keith Murray<br />Keith Murray and EPMD have done some classic work together, this is not indicative of that at all. Skip/delete/sleep/right click... whatever you have to do, this one is not worth your time.<br /><br />13<span style="font-weight: bold;">. Actin' Up</span><br />Featuring Vic D and Tre<br />A good send-off. Everything was on point here. Good guest spot, good instrumental, good lyrics. Nothing better than good but still...<br /><br /><span style="font-weight: bold;">Bottom Line:</span><br />This album will not attract any new fans for EPMD. They stuck to an old formula with the exception of <span style="font-style: italic;">Left 4 Dead</span>, and will most likely only appeal to old fans. Still it's a good album, and you should definitely check it out if you haven't already done so.<br /><br /><div>0-20: Terrible listening experience</div><div>21-40: Maybe one good song</div><div>41-60: A few good songs</div><div>61-80: Half are good songs, half are weak</div>81-100: Great listening experience, almost all are great songs<br /><br />I give this album an 84.<br /><br />You can find a link <a href="http://www.hiphopforfree.com/2008/12/02/epmd-we-mean-business-retail2008grouprip/">here</a>.Guy Fawkeshttp://www.blogger.com/profile/15188947421727982730noreply@blogger.com4tag:blogger.com,1999:blog-4019147611321260085.post-45875083912938775812008-12-22T13:25:00.000-08:002008-12-22T13:38:55.345-08:00Have you noticed the lack of posts?Isn't this a familiar sight?<br /><br />I hate coming to sites and seeing posts similar to this: "I've been busy lately, that's why I haven't been posting".<br /><br />But alas, I am faced with a similar situation. Not only have I become increasingly busy with life, but aside from The Hip Hop Mortuary, I also run two other sites and contribute for three more.<br /><br />I don't want this site to go under like countless other quality blogs. So I'm asking for help. <br />I don't want to place the blame on the staff here, because it's not their fault. But in the same sense we need to get this site active.<br />If you're a reader of this blog and would like to contribute reviews, GET AT ME!<br /><br />Leave a message in the C-box or at my e-mail<br />ironflag1@gmail.com<br /> <br />Thank you.Guy Fawkeshttp://www.blogger.com/profile/15188947421727982730noreply@blogger.com0tag:blogger.com,1999:blog-4019147611321260085.post-31328931229276579892008-12-10T12:51:00.000-08:002008-12-14T08:07:25.604-08:00Ghostface Killah - Fishscale (2006)<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://ecx.images-amazon.com/images/I/51d8uBceIOL._AA240_.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 372px; height: 267px;" src="http://ecx.images-amazon.com/images/I/51d8uBceIOL._AA240_.jpg" alt="" border="0" /></a>"<span style="font-style: italic;">Psycho Killah, Norman Banks</span>". I understand that quoting an old Ol' Dirty line <span style="font-weight: bold;">might</span> will do one of two things:<br />1. <span style="font-weight: bold;">Makes me seem like a Wu stan who actually keeps up with the 9 members, and ever-growing legions of weed carriers.</span><br />Or:<br />2. <span style="font-weight: bold;">Makes me seem like a dumbass who has no fucking clue what he's talking about.</span><br />After this intro, I'm guessing readers will gravitate towards the second option. Like most people, I discovered terrible mainstream rap before I found boom-bap heaven. In the context of this review that means that I know criminally little about the Wu. In fact I had no clue Masta Killa was a member until I did a little research for this post. But luckily I have kept up with Ghostface. There's 3 Wu albums everyone has heard: <span style="font-style: italic;">Liquid Swords</span>, <span style="font-style: italic;">Supreme Clientele</span>, and <span style="font-style: italic;">Only Built For Cuban Linx</span>. <span style="font-style: italic;">Supreme Clientele</span> stood out most to me, and as a result I have went through most of Ghost's discography. What does that mean for this review? Well...<br /><br /><span style="font-weight: bold;">1. The Return of Clyde Smith</span><br />It's just an intro. Sorry..<br /><br /><span style="font-weight: bold;">2. Shakey Dog</span><br />The instrumental is easily identifiable, considering that this beat has been sampled 100's of times. The <span style="font-style: italic;">"Oh Yeah"</span> vocal sample also appears on Pharell's <span style="font-style: italic;">Rockstar</span> (which is a sad piece of trivia I have held onto). And the storytelling is the stuff of legends.<br /><br /><span style="font-weight: bold;">3. Kilo</span><br />"I'm getting ready to fuck Catwoman or something", what more needs to be said? My only complaint with this song is the instrumental. It's not engaging at all. Good job MoSS. Oh the vocal is kind of lame too. Especially when Rae and Ghost ad-lib it.<br /><br /><span style="font-weight: bold;">4. The Champ</span><br />I feel like I should hate this song out of principle. RZA doesn't produce at all on this album. Yet you have Just Blaze pimpin the Roc at the beginning. Regardless, Justin Blaze does a great job on the instrumental and Ghostface kills it (Get it? Get it? Get it?).<br /><div class="post-body entry-content"><br /><span style="font-weight: bold;">5. Major Operation </span><br />I've always wished I could say something funny or even something halfway enlightening about skits. But like always I have nothing to say.<br /><br /><span style="font-weight: bold;">6. 9 Milli Bros</span><br />If you couldn't tell by the title all 9 members of the Wu get on this track, along with Cappadonna for safe measure. This shit is ill beyond belief. Produced by MF Doom for anyone whose a non-believer.<br /><br /><span style="font-weight: bold;">7. Beauty Jackson</span><br />Ghostface's singing has always brought tears of laughter to my eyes. I wasn't really feeling this song, but it's relatively short so I can't complain. This was more of a curiousity piece to hear how Ghostface would sound over a Dilla insrumental. How is it? Well, it's kind of indescribable.<br /><br /><span style="font-weight: bold;">8. Heart Street Directions<br /></span>Skit.<br /><br /><span style="font-weight: bold;">9. Columbus Exchange/ "Crack Spot"</span><br />I wasn't really feeling this one. It was produced by Crack Val, isn't that saying enough? It would be smart to skip this one.<br /><br /><span style="font-weight: bold;">10. R.A.G.U.</span><br />Kind of similar to song number 7. This song is for those that would like to hear Ghost and Rae the Chef over a Pete Rock composition. Nothing wrong with this track. It's no banger, but it's not anything you should sleep on either.<br /><br /><span style="font-weight: bold;">11. Bad Mouth Kid</span><br />These skits are growing old quickly.<br /><br /><span style="font-weight: bold;">12.Whip You With A Strap</span><br />No matter how gently Ghostface sings (or lullaby's in my opinion) it doesn't make a difference. This shit does not sound good together. What is Ghost doing making songs for the ladies? Ruins a good Dilla instrumental.<br /><br /><span style="font-style: italic;">Editors note:</span> Yeah, I was wrong about this one. <br /><br /><span style="font-weight: bold;">13. Back Like That</span><br />Another song for the ladies, this one sounds a lot more natural, but still sounds like 100% Grade A synthetic bullshit. Any time you feature Ne-Yo on a track your not speaking from the heart but from your record label's pockets. It was a single so I can't really complain.<br /><br /><span style="font-weight: bold;">14. Be Easy</span><br />I don't really know how to describe this one. It's a lighthearted single that doesn't take itself too seriously. It's very Wu while also being very poppy (figure that one out).<br /><br /><span style="font-weight: bold;">15. Clipse Of Doom</span><br />The beat is terrible here. And it really detaches from this song. Very generic hook too.<br /><br /><span style="font-weight: bold;">16. Jellyfish</span><br />Something about MF Doom producing a track for the ladies doesn't sing for me. This track was very ehhh anyway.<br /><br /><span style="font-weight: bold;">17. Dogs Of War</span><br />Pete Rock is killing it at this point. A Sly & The Family Stone sample? Yes! Trife Da God is weak as usual, but the rest of the guests go hard. Preaching the family message here.<br /><br /><span style="font-weight: bold;">18. Barbershop</span><br />Interlude with about 30 seconds of spitting. I don't think you'll miss anything by skipping this one.<br /><span style="font-weight: bold;">19. Ms. Sweetwater</span><br />These skits are killing me, and not in the Pete Rock sense either. Huh? Read the commentary for <span style="font-style: italic;">Dogs Of War</span>.<br /><br /><span style="font-weight: bold;">20. Big Girl</span><br />Ghost produced this track himself. The vocal sample he uses really interferes with his sing-song flow. But aside from that, this song stood out to me.<br /><br /><span style="font-weight: bold;">21. Underwater</span><br />No matter how good Ghost's verse would have been, this should have been a straight instrumental. It holds it's own by leaps and bounds. That being said Ghost sounds pretty good over this instrumental, but if I were to make a recommendation it would be to track down the original beat from MF Doom's <span style="font-style: italic;">Orange Blossoms</span>.<br /><br /><span style="font-weight: bold;">22. The Ironman Takeover </span><br />It's only five seconds.<br /><br /><span style="font-weight: bold;">23. Momma</span><br />I can feel the P Diddy influence just smacking me across the face. It's a good song despite it, but it's obviously a Hitmen production job.<br /><br /><span style="font-weight: bold;">24. Three Bricks</span><br />The grand finale. Ghost, Raekwon and a recycled Biggie verse. It's a good song to finish out a good album.<br /><br /><span style="font-weight: bold;">Bottom Line:</span><br />Overall this album was good. There were far too many songs and far far far too many interludes. But there are a good number of tracks that are well worth your time to track down.<br /><br /><div>0-20: Terrible listening experience</div><div>21-40: Maybe one good song</div><div>41-60: A few good songs</div><div>61-80: Half are good songs, half are weak</div>81-100: Great listening experience, almost all are great songs<br /><br />I give this album an 83.<br /><br /><a href="http://shallyboy.blogspot.com/2007/11/ghostface-killah-fishscale.html">You can find a link here</a><br /></div>Guy Fawkeshttp://www.blogger.com/profile/15188947421727982730noreply@blogger.com8tag:blogger.com,1999:blog-4019147611321260085.post-10041515835267922042008-12-04T13:51:00.000-08:002008-12-04T15:10:08.480-08:00Brother Ali/ Champion EP<img style="width: 460px; height: 333px;" alt="http://www.leroyburgess.com/lbblog/brotheralichampionep.jpg" src="http://www.leroyburgess.com/lbblog/brotheralichampionep.jpg" /><br /><br />What do I say here that the average hip-hop fan does not yet know? I'm not going to touch on Brother Ali's skin tone, lack of vision or faith, but rather the impact he has had on independent hip-hop. I'm from Minnesota, (in case this is your first time reading or if you didn't catch that earlier) so you can already know what's coming without scrolling at all, I am a very staunch supporter or B Ali (a nickname penned by your very own Guy Fawkes). Truth be told, I doubt you can find one person on this universe that actually <span style="font-style: italic;">hates</span> on Brother Ali. I'm not denying the fact that some people may dislike him, but nobody <span style="font-style: italic;">hates</span> on Brother Ali. And lately the big Brother has been getting some serious hype. November 4th lots of my favorite blogs were adorned by Ali's track <a href="http://www.rhymesayers.com/radio/audio/01_Obama_Your_The_Man_1.mp3">Mr. President (You're The Man)</a>. And before then Ali shared a track with Freeway on the Jake One album, and kinda shitted on the bearded man. What does that have to do with the <span style="font-style: italic;">Champion EP</span>? Presumably very little, so let's get the show on the road..<br /><br /><span style="font-weight: bold;">1. Champion (Remix)-</span><br />For those that have heard the original, you have to agree when I say this version is terrible. Not terrible as in it's a bad song, but terrible as in you need to track down the original version. That's all I can really say, I can't applaud this song knowing there is a much better alternative to it right underneath my fingertips. <br /><br /><span style="font-weight: bold;">2. Bad Ma Fucka-</span><br />For those who have heard<span style="font-style: italic;"> Dorian</span>, you know that Ali really is a bad ma fucka. Although that has nothing to do with the concept of this song. For most other artists this would be treated as your average disgruntled head talking to the talentless MC's of tomorrow. But this song is so much more. Ant's amazing production here really had my head spun. Aside from adding guitar and harmonica yet still creating a pure hip-hop instrumental, Ant throws in a few obscure samples to be safe. Add Ali's lyricism to the mix and you have a standout track on a standout album.<br /><br /><span style="font-weight: bold;">3. Sleepwalker</span><br />This beat has always stuck a cord somewhere deep inside my heart with it's eery and dark-natured drums and sampling, but Ali's flow does not work here. It ruins an instrumental with lots of potential. For those who can appreciate a decent song with an awkward flow, it's a different story...<br /><br /><span style="font-weight: bold;">4. Love On Display</span><br />Possibly my favorite thing about Ant (Ali's producer if you can't tell yet) is the extremely wide range of emotions he can convey in an simple beat. From dark and gloomy to optimistic and cheerful, he can do it all. This is more or less a tale of how Ali has been impacted about hip-hop, and it is introspective and genuine as can be. This is the type of song that can humble the most narcisstic human being, definitely something you should check out.<br /><br /><span style="font-weight: bold;">5. Self Taught</span><br />This was the song that first made me fall in love with Ali. Two years later I still enjoy the song, but I find myself spacing out at times. It's not so much the song as a whole but the hook is very generic in a Brother Ali sense. Still a knocker though.<br /><br /><span style="font-weight: bold;">6. Heads Down</span><br />The first time during this whole EP that I can whole-heartedly say <span style="font-weight: bold;">SKIP!</span><br /><br /><span style="font-weight: bold;">7. Chain Link</span><br />The whole vibe of this song is mid 90's heart of the city, NYC, little kids playing basketball during recess. I don't have much to say here, just sit back and admire good music people. Not G.O.O.D. Music but good music (had to get that subliminal diss in).<br /><br /><span style="font-weight: bold;">8. Waheedah's Hands</span><br />Ehh, it wasn't bad, but it definitely wasn't good. <br /><br /><span style="font-weight: bold;">9. Rain Water</span><br />What a send-off, wow! This is probably the premier track off this stellar EP. If that's not saying something, I don't know what is.<br /><br /><br />So now that we're done, you can guess what happens. I'm going to throw in a comment about how this EP shits on mainstream hip-hop in general, and that you should definitely cop it (even if it requires going out of your way to do so). But truth be told, I'm going to keep it 100% real right now. This EP is good, and with the exception of a few songs, it's much better than any major release coming out in the next month. So do yourself a favor, and cop this EP as a fan of hip-hop in general, fuck the labels attached to artists, support good music. I'm going to get off my pulpit now. *P Valley, I'm going to get to that Ghostface I promise homie*<br /><br /><div>0-20: Terrible listening experience</div><div>21-40: Maybe one good song</div><div>41-60: A few good songs</div><div>61-80: Half are good songs, half are weak</div>81-100: Great listening experience, almost all are great songs<br /><br />I give this EP a 88.<br /><br /><a href="http://dieshadowmandie.blogspot.com/2008/06/brother-ali-champion-ep.html">You can find a link here</a>Guy Fawkeshttp://www.blogger.com/profile/15188947421727982730noreply@blogger.com10tag:blogger.com,1999:blog-4019147611321260085.post-56810440621036444072008-11-18T14:13:00.000-08:002008-11-20T15:56:52.735-08:00Q-Tip/The Renaissance<div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://upload.wikimedia.org/wikipedia/en/e/e0/TheRenaissance.JPG"><img style="margin: 0pt 10px 10px 0pt; float: left; width: 323px; cursor: pointer; height: 409px;" alt="" src="http://upload.wikimedia.org/wikipedia/en/e/e0/TheRenaissance.JPG" border="0" /></a> Even as a 90's baby, (yes a 90's baby) I can still confidently say I grew up on <span style="font-style: italic;">A Tribe Called Quest</span>. When most kids my age were falling out of love with Nickleback and Eminem, I was bumping <span style="font-style: italic;">Award Tour</span> out of my mom's car... on the weekends. One of the most nostalgic moments of my present childhood was going to a record store that actually held <span style="font-style: italic;">The Low End Theory</span> or <span style="font-style: italic;">Midnight Marauders </span>and paying full price for both of them (remember I'm a 90's baby). Once I copped those albums I would play them inside out, back to front, and cover to cover until I knew the song better than Phife and Q-Tip. Needless to say, <span style="font-weight: bold;">I'm a fan! </span>Shortly after exploring the Tribe discography, I decided to investigate Q-Tip's short-lived solo career (until now anyway). As a huge jazz rap and abstract hip-hop head, I was somewhat dissappointed with the debut. So here's hoping to a better go-round the second (err..third) time around (Hear, Hear.)<br /><br /><span style="font-weight: bold;"></span></div><br /><div><span style="font-weight: bold;"></span> </div><br /><div><span style="font-weight: bold;">1. Johnny Is Dead</span><br />If there's one thing that I really enjoy about Q-Tip it has to be his beautiful flow (no homo not even necessary). This isn't a bad song per se' but I couldn't really get into it because of the choppy flow equipped here. Everything else is pretty average too, the instrumental didn't really catch my ear and the hook is very ehhh... But it's a <span style="font-weight: bold;">rap intro </span>(fingers crossed).<br /><br /><span style="font-weight: bold;">2. Won't Trade</span><br />Had me nodding my head for the whole 2:41. The lyricism is pretty sick, and the whole song flows really well together. It's a concept track based on basketball (I think), and even though I'm not a fan of songs like these, I'll admit that this track is pretty hot. And I can't even imagine how many crates of records Q must have dug through before finding the vocal sample for this track.<br /><br /><span style="font-weight: bold;">3. Gettin' Up</span><br />Q-Tip's what 38? When he was 20 and making tracks like <span style="font-style: italic;">Electric Relaxation</span> for the ladies it was cool. Not as a 40 year old though. "We can be like Martin and Coretta"... ehh. A cute sentiment, but your trying way too hard homie. This was an easy skip for me.<br /><br /><span style="font-weight: bold;">4. Official</span><br />Mess of a song. Choppy flow again, a vocal sample that doesn't fit the rhythm at all, and too much singing (I've never been a fan of Kamaal the singer). I had a hard time listening to this track.<br /><br /><span style="font-weight: bold;">5. You</span><br />This is more of the beats I was expecting to hear. Not a bad song, not much more than singing though. I'm not complaining though, I was feeling this track after a few listens.<br /><span style="font-weight: bold;"><br />6. We Fight/Love</span><br />A soft instrumental complements Tip's great storytelling, and Raphael Saadiq stops in for the hook. This is definitely a song for the grown-ups, so I wasn't really feeling it, but it's got potential... I've got potential to enjoy it soon!<br /><br /><span style="font-weight: bold;">7. Manwomanboggie</span><br />On this song he tries to explore man and woman's evolution. I don't know that this instrumental was the ideal platform for such an exploration. Wasn't really feeling this track.<br /><br /><span style="font-weight: bold;">8. Move</span><br />Double-sided song, the first half of the song is a <span style="font-style: italic;">dance</span> track: "Here they come yo, here they come". A song clearly targeted for the ladies, but the second half of the track is a deeply introspective song. The instrumental sounds Renaissance-esque (like 15th century Europe), and is accented by some amazing story-telling. On some old school Tip ish. I'm disappointed these songs weren't separated, because the second half is amazing.<br /><br /><span style="font-weight: bold;">9. Dance On Glass</span><br />You know what? Props Q, he rocked the shit accapella for more than a minute and killed it! This song is put together very strangely, but is definitely worth a listen. I don't know about the singing at the start though.<br /><span style="font-weight: bold;"></span></div><br /><div><span style="font-weight: bold;">10. Life Is Better<br /></span>Life would be better if Q-Tip didn't make songs like this. Maybe it's just me but this seemed like a half-assed hip hop ode<span style="font-weight: bold;">. </span>Just me<span style="font-weight: bold;">... </span>I have a snaking suspicion John was feeling this track<span style="font-weight: bold;">.<br /><br />11. Believe<br /></span>I wanted to love this song, but I just couldn't. The beat is magnificent, but the message that ties the song together is somewhat lacking.<br /><span style="font-weight: bold;"></span></div><br /><div><span style="font-weight: bold;">12. Shaka<br /></span>Another poignant production, and this is a great way to finish up this album. No matter how the material before it sounds, this song will leave you wanting more Q-Tip.<br /><br />And that will conclude this album. To tell the truth, I was somewhat dissapointed. The album itself was to be expected. Lately Q-Tip among numerous other <span style="font-weight: bold; font-style: italic;">rappers</span> has begun singing more than rhyming. This album is somewhat similar to his second LP <span style="font-style: italic;">Kamaal the Abstract</span>, in terms of singing. But this is Q's finest produced album to date. Considering he produced or co-produced almost the whole album, that is quite an achievement. There's something here for everyone, so check it! "Here they come yo, here they come...." </div><br /><div> </div><br /><div>0-20: Terrible listening experience</div><div>21-40: Maybe one good song</div><div>41-60: A few good songs</div><div>61-80: Half are good songs, half are weak</div><div>81-100: Great listening experience, almost all are great songs<br /><br />I give this album a 73.<br /><a href="http://rapstream.blogspot.com/2008/10/q-tip-renaissance-2008.html"><br />You can find a download here</a><br /></div>Guy Fawkeshttp://www.blogger.com/profile/15188947421727982730noreply@blogger.com8tag:blogger.com,1999:blog-4019147611321260085.post-48239413087600417182008-11-14T10:49:00.000-08:002008-11-16T01:31:56.289-08:00Jurassic 5/Feedback<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.turtlekat.hu/pages/jurassic5-feedback.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 500px; height: 500px;" src="http://www.turtlekat.hu/pages/jurassic5-feedback.jpg" alt="" border="0" /></a><br /><div>The day Jurassic 5 got together as a group was the day Hip Hop was finally saved. In an era where the West Coast was dominated by gangsta and all that, these Los-Angeles based brothers brought back the vibes of the old Native Tongues maintaining a strictly underground attitude, rising to the scene with groups such Dilated Peoples, Defari and Cali Agents, using East Coast-oriented beats and fresh rhymes reminiscin’ about the Old School. Unfortunately “<span style="font-style: italic;">Feedback</span>” was not only the first album that the group recorder without Dj/producer Cut Chemist, which had left the group earlier in 2006, it was the last album that Chali 2na, Akil, Zaakir, Mark 7even and Dj Nu-Mark recorded together at all, before splittin for unknown reasons. What’s left was an album that continued the work J5 had done before, maybe less satisfying than its two (three with the J5 Ep) predecessors, full of mid-80’s Hip Hop references and fresh rhymes from each component. </div><br /><div> </div><br /><div><strong>What’s Hot</strong> </div><br /><div>1. Back 4 U – Great intro, features a very catchy piano loop over a hard beat, one by one J5 makes sure everyone noticed that they’re back. They forgot to mention it was the last time. Sigh. </div><br /><div> </div><br /><div>2. Radio – Okay. This one will tack you back directly to 1985, if you love Run Dmc’s first album, if you ever wore a kangol and sported a heavy radio on your shoulders, this one’s for you. It’s a tribute to the originators, everyone mentions the moment when Hip Hop crossed their heart for the first time, when ghetto blasters and gold chains were a must. Aaahh, that good ol’ times…<br /></div><br /><div>5. In The House – Bpm’s goes up and up, here we turn completely into funk mode. Sounds good as an old Coolio cut, “<span style="font-style: italic;">Smokin' Stix</span>”, it’s a party-vibe track with a lot of 70’s flavor in it.<br /></div><br /><div>6. Baby Please – We go uptempo here, this cut is about serious business. Does that woman wants you for your money? Save your funds, while you can!<br /><br />9. Get It Together – The best beat on the entire album. Period.<br /><br />10. Future Sound – Another great cut, Akil and Soup trade verses over a very good beat. This one’s sounds good even if 2Na doesn’t speak a word….<br /></div><br /><div>15. Canto De Ossanha – Every classic J5 album got his instrumental to close out things. This makes no exception, by the way this is the best instrumental cut put together by Nu Mark.<br /></div><br /><div><strong>What’s Not<br /></strong>3. Brown Girl – Not a typical J5 cut, the chorus is simply horrendous.<br /><br />4. Gotta Understand – The beat is so-so, and the Curtis Mayfield vocal loop is too perseverant.<br /><br />7. Work It Out feat. Dave Matthews Band– This cut is not really bad at all, but once you listen to it, it’ll leave a commercial taste in your mouth. That’s too soft, too radio oriented, not J5 style. I know that they collaborated with people such as Nelly Furtado, but that was a completely different vibe.<br /><br /><strong>Bottom Line</strong></div><br /><div>A very good album, anyway it does not sees the greatness that “Quality Control” and “Power In Numbers” contained. There are two or three missteps that bring the overall quality down, Chali 2Na is not that much present with that monsta voice that bless any drum roll possible, anyway the beats, even without Cut Chemist, are very creative and the overall concept is still different from anything your ears is accustomed to. </div><br /><div> </div><br /><div>0-20: Terrible listening experience</div><br /><div>21-40: Maybe one good song</div><br /><div>41-60: A few good songs</div><br /><div>61-80: Half are good songs, half are weak</div><br /><div>81-100: Great listening experience, almost all are great songs</div><br /><div> </div><br /><div>I give this album a 85. The fact that it’s not Jurassic 5 best album doesn’t mean that it is not good. It could've been done better, okay, but it's still way above average.<br /><a href="http://onlyrealhiphop.blogspot.com/2008/02/jurassic-5-feedback.html"><br />You can find a link here</a><br /></div>Mistadavehttp://www.blogger.com/profile/08754669369340579915noreply@blogger.com1tag:blogger.com,1999:blog-4019147611321260085.post-87606536734126193282008-10-31T14:27:00.000-07:002008-11-09T19:05:12.041-08:00M-1/Confidential<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNr_vXP52ICnQKuyhCR56ABI2mIh2NwX6eCwkCFv7ItxoVlxchWXr43RZv_ql-PD9G8aRfogLWMOFEVcDXBIRKElw5oI8ukvWqE4yHrpObEoGLsCM0I6SADsEuLeUfrIMbAU2MCZu7UDY/s1600-h/Confidential.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 281px; height: 273px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNr_vXP52ICnQKuyhCR56ABI2mIh2NwX6eCwkCFv7ItxoVlxchWXr43RZv_ql-PD9G8aRfogLWMOFEVcDXBIRKElw5oI8ukvWqE4yHrpObEoGLsCM0I6SADsEuLeUfrIMbAU2MCZu7UDY/s320/Confidential.jpg" alt="" id="BLOGGER_PHOTO_ID_5263433214706926930" border="0" /></a>When I got a request to review this album I actually jumped at the opportunity (not that obvious by my delayed post... sorry). But I've been needing a good excuse to jump into my Dead Prez collection, as it has been collecting computer dust for more than a year now. Lately all my music has been collecting computer dust but that's a different story. I first found out about Dead Prez when I heard <span style="font-style: italic;">Hip-Hop</span>, I'm sure that's probably how most people know them as. But this time unlike many others when groups are categorized and unfairly labeled by their breakout song, <span style="font-style: italic;">Hip-Hop </span>really did symbolize the message Dead Prez was trying to present. Strong, combative, political hip-hop that could be taken seriously. Dead Prez consists of two members, Stic.Man and M-1. So without any further adieu, here's the review;<br /><br /><span style="font-weight: bold;">1. </span><span style="font-weight: bold;">One Side (The Anthem)-<br /></span>It's really nothing more than an intro. If this were not an hip-hop album, it may have been a good song, but for this particular genre it's still an useless album intro.<br /><br /><span style="font-weight: bold;">2. Early-</span><br />The first thing I noticed about this song is it's lack of aesthetics, the album itself isn't very smooth and doesn't exactly mesh well together. For each of the three verses, their is a new flow, a new subject matter, and it's very incohesive (uncohesive?). It reminds me of listening to a Tech N9ne song, where there is almost no structure at all. Can't say I hated this song, but I can't say I'm ever going to listen to it again either.<br /><br /><span style="font-weight: bold;">3. Land, Bread, & Housing-</span><br />A pretty safe song when compared to the whole Dead Prez catalog, but it's worth checking out. Butter provides the backdrop for M-1's eclectic mix of family values and Pan-African "Fuck the white man" ideals. Song is very R&B tinged, and it's the first one I could recommend checking out.<br /><br /><span style="font-weight: bold;">4. For You-</span><br />You wouldn't really be missing anything if you skipped over this song. It's an organized mess of a song.<br /><span style="font-weight: bold;"><br />5. Confidential-</span><br />This song is a little slower, more of an R&B influence, but I still didn't find much to like about this song. By this point in the album, I'm getting a little bit annoyed by M-1's countless political jabber that just sounds endlessly paranoid. Not to add, he switched topics mid-sentence all the way throughout this song. But it's not something you shouldn't have expected, <span style="font-weight: bold; font-style: italic;">SONGS THAT SHARE THE ALBUM'S NAME ARE NEVER GOOD!</span> Exclude <span style="font-style: italic;">Ready To Die</span> from the above statement.<br /><br /><span style="font-weight: bold;">6. Love You Can't Borrow-</span><br />With a legendary counterpart on the mic, M-1 finally steps his game up and produces a track worth hearing. I'm not the biggest fan of the chorus, but I'll gladly listen to this chill mellow track again.<br /><br /><span style="font-weight: bold;">7. 5 Elements-</span><br />Once the beat kicked in I knew that this was a banger. And not in the typical sense either. By far the best song so far, only blemished by the cutesy Bruce Lee quote in the beginning and hook. It's not kicking knowledge when you take an open-ended philosophical statement and manipulate it to fit the songs message. Regardless, <a href="http://www.youtube.com/watch?v=XSdsunfL4gw">peep this track</a>.<br /><br /><span style="font-weight: bold;">8. Gunslinger- </span><br />This is one of the worst <span style="font-weight: bold;">interludes</span> I've ever heard. And it's a song! Stay far, far away from this song. It reminds me of <span style="font-style: italic;">Caribbean Connection </span>on <span style="font-style: italic;">Capitol Punishment. </span> Obviously out of place, and horribly detaching from the album's overall message. To be curt, delete.<br /><br /><span style="font-weight: bold;">9. Comrade's Call-</span><br />Sounded like a repeat of <span style="font-style: italic;">For You</span>. The hook is wack, the beat is insanely over-produced and everyone's flow is just off. Skip!<br /><br /><span style="font-weight: bold;">10. Don't Put Down Your Flag-</span><br />Another generic, two second hook... but this time it is accompanied by an outstanding beat and engaging lyricism and flow. Just for that alone, this song stands out. Aside from the album, this song holds it's own too... I guess you could bang this one.<br /><br /><span style="font-weight: bold;">11. The Beat-</span><br />Is out of place and does not fit the song at all. I guess they tried to turn a club beat into a instrument for political tirades, but it doesn't really fit well here (correction: it doesn't really fit well anywhere). The flow is really cut-up (in order to ride the beat) and detaches from anything useful M-1 or Bang Double could have said.<br /><br /><span style="font-weight: bold;">12. Been Through-</span><br />You'd think M-1 could have possibly chosen a more fitting instrumental when he has a feature from fucking Ghostface, but naw... you get more of the same. I understand the optimistic overtone here, but this beat does not fit the lyrical content. And fuck if M-1's weed-carrier Raye doesn't throw in 40 seconds of the weakest shit this side of Advil. Fabrizio Sotti may just be a possible candidate for worst producer ever and that's coming solely from this album.<br /><br /><span style="font-weight: bold;">13. Till We Get There-</span><br />Where is the originality? This is just like <span style="font-style: italic;">Love You Can't Borrow</span>, <span style="font-style: italic;">Land Bread & Housing</span>, and <span style="font-style: italic;">Confidential</span>. They are all the same song. If you haven't yet tired of the above listed songs, you might like this one. It's admittedly one of the better tracks on this album, but that's not really saying anything.<br /><span style="font-weight: bold;"><br />14. Too Smart-</span><br />I wasn't very smart and listened to this song in it's entirety. The subject matter is kind of obvious, how M-1 is too smart to give in to government conspiracies set to scrutinize the black man. By this point I've had enough.<br /><br />I have nothing positive to say about this album, so I'll just say that I wasted a small portion of my life on this album, and I advise you not to.<br /><br />0-20: Terrible listening experience<br />21-40: Maybe one good song<br />41-60: A few good songs<br />61-80: Half are good songs, half are weak<br />81-100: Great listening experience, almost all are great songs<br /><br />I give this album a 58.<br /><br />If you really want to<a href="http://hothiphopalbums.blogspot.com/2008/09/m-1-confidential-2006.html">...You can find a link here</a>Guy Fawkeshttp://www.blogger.com/profile/15188947421727982730noreply@blogger.com2tag:blogger.com,1999:blog-4019147611321260085.post-57658970811369514492008-10-31T13:34:00.000-07:002008-10-31T14:14:14.238-07:00Joe Budden/ Halfway House<div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRtLIjZmicCBuEzL0cQCAYjtxy5Mn7DujHjHB8xB6ZTI9neqHCO42QJldbawNswrdsFJvd76pEtdcPXhowFs7pQRQkAgaKnjkjPNHBoOvTa0ISgQbKKwZdVyN5OBXwNA-Dth0wQ3GAfz-i/s320/Halfway+House.jpg"><img style="margin: 0px auto 10px; display: block; width: 320px; cursor: pointer; height: 320px; text-align: center;" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRtLIjZmicCBuEzL0cQCAYjtxy5Mn7DujHjHB8xB6ZTI9neqHCO42QJldbawNswrdsFJvd76pEtdcPXhowFs7pQRQkAgaKnjkjPNHBoOvTa0ISgQbKKwZdVyN5OBXwNA-Dth0wQ3GAfz-i/s320/Halfway+House.jpg" border="0" /></a>First, I want to apologize to everyone who checks this site regularly, I really have been slacking lately. Second, I will no longer post direct links to full-album downloads, but I will push you in the right direction if you in fact want to acquire an album (you'll see at the bottom of the post). And last, if you work for the DMCA, you are not welcome here, under any means.<br />Since I haven't posted for about a week and a half, I might as well take on some exclusive shit in the form of Joey Budden's latest. <span style="font-style: italic;">Halfway House, </span>is being released as an album strictly to provide Joey's fans something to feed on after <span style="font-style: italic;">Padded Room</span> got pushed back to the end of February. Lately Joey has been running shit on the coast. His song <span style="font-style: italic;">Who</span>, was huge in the blog universe a few months back. And the newest installment in his highly acclaimed mixtape series <span style="font-style: italic;">Mood Muzik</span> has been made into an album, and re-mixed by countless producers. Shit's looking real good for Jump-off Joey right now.<br /><br /><span style="font-weight: bold;">1.</span> <span style="font-weight: bold;">Intro</span>-<br />Your typical lame-ass intro: "Sorry for the push-backs, I've been grinding lately". Seems like every rapper is using that as an excuse nowadays. Sprinkle in a few "L"'s and you get an instant skip. But it is an intro...<br /><span style="font-weight: bold;">2. On My Grind-</span><br />This sounds like one of those high-octane rock-rap songs, and the beat is really abrasive. I was impressed with the lyricism but the flow doesn't match the instrumental. And the hook shreds any piece of respectability to shreds. "He's a beast, he's a monster, he is insane, he's an animal, he cannot be tamed". Really Joe? Really? Come on...<br /><span style="font-weight: bold;">3. Overkill (feat. Heartbreak)</span>-<br />Sounds like it might have been a reject from <span style="font-style: italic;">Mood Muzik 3</span>, I say that in the best way of course. Blastah Beatz tries a little too hard here, the instrumental sounds real dramatic and a little forced. And even though it's Joey's track, Heartbreak fucking puts this beat in a coffin, cold bodying the track with his puchlines and lyricism. I've never even heard of his dude, but I was really surprised and impressed with the verse he turned in... trust me it is ill as fuck! Buddens goes second and even though his verse is straight, it doesn't even compare to Heartbreak's sixteen bars.<br /><a href="http://sharebee.com/4363b5f1">Check it here, you'll be glad you did.</a><br /><span style="font-weight: bold;">4. Check Me Out</span>-<br />This track starts off slow and quickly gains momentum. The first minute and a half is pretty weak, but once Joe becomes introspective the lyrics start to mean more and this song makes a turn for the better. The instrumental is more of what I was expecting: soulful, poignant production, this time by Mizfitz Soundz.<br /><span style="font-weight: bold;">5. Sidetracked</span>-<br />I wasn't feeling this track at all. Weak-ass beat, and the lyricism is overly-predictable. Easy skip for me.<br /><span style="font-weight: bold;">6. Slaughterhouse (feat. Royce Da 5'9, Crooked I, Nino Bless, and Joell Ortiz)-</span><br />The posse cut that puts all other posse cuts to shame. I have to admit that as soon as this album downloaded, this was the very first song I was eager to hear. Just an all-star lineup right here. And Scram Jones' instrumental immediately grabs your ears, it just commands attention. And then everybody throws in their best effort, I'm not a huge Joell fan, but he really does come with straight crack on the track. Nino and Crooked are no exception either. But Royce straight fucking murders this beat! He is by far the best lyricist of the group, and he proves his worth in spades here. Surprisingly, I found Joey to once again be the worst of the group. Still, that's not saying much because he turns in a decent verse here.<br /><span style="font-weight: bold;">7. Under The Sun-</span><br />I never thought that a Bryan Adams sample would fit a hip-hop instrumental of any type, but I was wrong. Hazed Khaos does a great job of fitting that sample into the instrumental here. The first verse has unmatched intensity, but after that it drops off to a pretty low level. The last verse was materialistic and phony as hell. It's still a pretty good song though.<br /><span style="font-weight: bold;">8. The Soul- </span><br />The beat sounds like something a post-<span style="font-style: italic;">Black Album</span> Jay-Z might have rapped over. But this song seemed like filler to me. A half-assed ode to hip-hop <span style="font-style: italic;">back in the day</span>.<br /><span style="font-weight: bold;">9. Anything Goes-</span><br />Skip/delete this one, it's weak all-around.<br /><span style="font-weight: bold;">10.</span> <span style="font-weight: bold;">Go To Hell-</span><br />Wasn't really feeling this one either. The rhymes are getting a little bit monotonous at this point. And this Blastah Beatz production doesn't compare favorably to his previous one.<br /><span style="font-weight: bold;">11. Just To Be Different- </span><br />There are some weird-ass samples on this album; Styx, Coldplay, Bryan Adams, and Shinedown. A lot of R&R influence for a hip-hop album. Especially for a Joey Budden album, you'd think he would stay away from Coldplay since Jay's worked with them.<br />This is a great song, once again Joey is introspective here, yet he comes with some of his best material. A great instrumental here, and the awkward hook is the only thing that really detaches from the song. It's sampled in a <span style="font-style: italic;">Ghetto Gospel</span> manner, substituting Elton John with Shinedown.<br /><span style="font-weight: bold;">12. Touch & Go-</span><br />I listened to about one minute of this song and instantly deleted it. It's pretty bad even as far as singles go. Really Joe? Really?<br /><br /><br />And that will conclude this album, I don't have the Amalgam bonus tracks, so I can't really say anything about them. This album was pretty average, and it didn't really do all that much for Joey in my opinion. It's less of an album and more of a compilation of unreleased tracks, which explains why you go from absolute genius like <span style="font-style: italic;">Overkill</span> and <span style="font-style: italic;">Slaughterhouse </span>to mediocrity like <span style="font-style: italic;">The Soul</span> and <span style="font-style: italic;">Go To Hell</span> to plain-terrible like <span style="font-style: italic;">Touch & Go</span>. Considering it's not an actual album, it's not so bad. I would recommend acquiring about half of the album, as the first half is actually really good, but staying far away from the second half. It's also kind of interesting that Joey is at his best when he talks about his internal problems, drug problems, and anything emotional. Heavily reminiscent of an early Eminem, although they have two completely different styles.<br /><br />0-20: Terrible listening experience<br />21-40: Maybe one good song<br />41-60: A few good songs<br />61-80: Half are good songs, half are weak<br />81-100: Great listening experience, almost all are great songs<br /><br />I give this album a 74.<br /><br /><a href="http://checkthetechnique.blogspot.com/2008/10/joe-budden-halfway-house.html">You can find a download link here</a><br /></div>Guy Fawkeshttp://www.blogger.com/profile/15188947421727982730noreply@blogger.com8tag:blogger.com,1999:blog-4019147611321260085.post-83075533865764645272008-10-27T22:21:00.000-07:002008-10-28T19:12:08.593-07:00Nas/Street's Disciple<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://tbn0.google.com/images?q=tbn:DazCZfewOI4B9M:https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1QJcijAV3_geZIGfq9kU5-ng2Qmvdx_Ql8NXwEDCOnmvhIpD1dJNOZfBLAc0JEVPSOFLJKGRPhkEBstkVMd5CPBxa_Rd6_ETePg_QUAL5PS0UhdGCLF3Tg_vYZ2UXCHQ5fNQ5VLBexxI/s400/Nas+-+Streets+Disciple+(2004)+%255BVBR%255D.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 273px; height: 231px;" src="http://tbn0.google.com/images?q=tbn:DazCZfewOI4B9M:https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1QJcijAV3_geZIGfq9kU5-ng2Qmvdx_Ql8NXwEDCOnmvhIpD1dJNOZfBLAc0JEVPSOFLJKGRPhkEBstkVMd5CPBxa_Rd6_ETePg_QUAL5PS0UhdGCLF3Tg_vYZ2UXCHQ5fNQ5VLBexxI/s400/Nas+-+Streets+Disciple+(2004)+%255BVBR%255D.jpg" alt="" border="0" /></a><br />I've been meaning to drop a review on here for a while, so I thought I'd start with this beast of a two-disc album.<br />As much as I want to go track for track with this work as any Nas album deserves, I'll just touch on each track a little bit so this review doesn't go on too long.<br /><br />DISC 1<br /><br /><span style="font-weight: bold;">1. Intro/2.Message to the Feds</span><br />"Peace."<br />That one word contrasting over the foreboding piano sets the mood for this dark, contemplative album perfectly. Crickets sound in the background and Nas talks quietly to the listener and let's us know that this is a conversation. Nas has often been looked at as someone who shoots ideas over everyone's heads, but he's always known how to speak directly to the listener, he just doesn't dumb himself down. The trick is not letting his status overwhelm you or make the overall meaning of his songs seem out of reach. The second the beat drops you can just feel the need to pump your fist in the air to this. Nas appropriately closes the first verse with "And they're aware of us though/and we don't give a flying 747 fuck though/staying on my hustle." Within the first minute of this album you know Nas is going to say some strong shit.<br /><span style="font-weight: bold;">3. Nazareth Savage</span><br />First off this beat is a monster. The choir gives it a heavenly sound while Nasir paints gloomy pictures such as "Sons back with flows, they say mine is very scary/smell fear like a canine that finds buried babies." And let's not forget about Nas' straight lyrical ability, "I squeeze nipples like pimples to get the puss/pus, get it?"<br /><span style="font-weight: bold;">4. American Way/5. These Are Our Heroes</span><br />Back on ground level Nas starts looking at today's issues concerning politics and black leaders/influences. These tracks are like an early look into how Nas approached his new 'Untitled' album. Again, not enough can be said about Nas' ability to present an issue in a way that makes you think, even if that means saying some things that will make people hate him.<br /><span style="font-weight: bold;">6. Disciple</span><br />As the title suggests, Nas speaks on the people he has inspired to follow in his footsteps. Good song, around average level of quality compared to the rest of the album.<br /><span style="font-weight: bold;">7. Sekou Story/8. Live Now</span><br />In these two tracks Nas' story telling ability shines in an epic story about living life to the fullest told through a couple different perspectives of a man name 'Sekou.' These are definitely two tracks you should sit down and listen to, though I'd recommend that for most of the tracks on this album.<br /><span style="font-weight: bold;">9. Rest of My Life/10. Just A Moment/12. You Know My Style</span><br />I grouped all of these together as all of these tracks are straight, but they aren't really stand out tracks either.<br /><span style="font-weight: bold;">11. Reason</span><br />This is the sleeper hit of the first disc. Though it seems low key and out of place alongside the grimy/hard hitting tracks, this is such a good track lyrically, production wise, and the hook sounds real nice.<br /><br />DISC 2<br /><br /><span style="font-weight: bold;">1. Suicide Bounce/2. Street's Disciple</span><br />This side starts off with a bang with Busta Rhymes on the hook and Nas doesn't even give the beat a chance. "To your power structure Nas is dangerous/ya'll the antithesis, the opposite/twitch and shit, all up in your body language." Nas makes absolutely sure that we don't forget he can tear the mic to shreds. The energy slows down for the title track, but Nas doesn't let up in quality here.<br /><span style="font-weight: bold;">3. UBR (Unauthorized Biography of Rakim)</span><br />Cool concept, but I thought this kind of dragged the album down. It's basically just Nas listing off some facts about Rakim's life.<br /><span style="font-weight: bold;">4. Virgo</span><br />Ludacris jumps on for this track. It's decent enough, maybe lacking a little bit in content but as always these two artists turn in competent verses. Doesn't take away from the album, but I didn't think it was necessary either.<br /><span style="font-weight: bold;">5/6. Remember the Times/7. The Makings of a Perfect Bitch/8. Getting Married/9. No One Else in the Room</span><br />I love the energy on Remember the Times and Nas comes really creative with his imagery describing his past sexual encounters. This leads into The Makings of a Perfect Bitch, a cool concept executed really well where he goes into what he wants in a woman. Finally this leads to Getting Married where the trilogy of relationships with females ends. This one's the weakest of the three in my opinion but it's good enough and completes the idea. No One Else in the Room continues this a little bit but what I liked most about this track was the feel it gives off, from the beat and the way he spits it. I haven't even listened to the lyrics of it closely yet it just sounds good.<br /><span style="font-weight: bold;">10. Bridging the Gap/11. War</span><br />Two good songs, they aren't favorites of mine but Nas still comes correct.<br /><span style="font-weight: bold;">12. Me & You</span><br />A song dedicated to Nas' daughter. I'm usually not a huge fan of these kinds of songs since I don't have a kid and can't really relate to it, but I can't help but feel Nas' happiness and pride in his daughter on this track.<br /><span style="font-weight: bold;">13. Thief's Theme</span><br />I can't say enough about this track. Such a good way to end an album of this scope, Nas spits grimy over the In-a-Gadda-da-Vida sample.<br /><br />Personally, I consider this to be the best Nas album. Period. Going track by track and being a little iffy about the inclusion of a few tracks makes me take the score down a little bit but I think this is Nasir in his purest state, his potential more realized then ever. As always with his albums there is more than meets the eye (/ear) and Nas presents ideas that can't possibly be all taken in from one listening. Hell, I'm still deciphering this and every time I hear it all the way through I find something new. All of these songs are good stand alone but as a whole this is just a really complete album, which is saying a lot considering it's a double LP.<br /><br />0-20: Terrible listening experience<br />21-40: Maybe one good song<br />41-60: A few good songs<br />61-80: Half are good songs, half are weak<br />81-100: Great listening experience, almost all are great songs<br /><br />I give this album a <span style="font-weight: bold;">93</span>. There are a few tracks that weigh it down so despite my personal opinion of the overall quality technically I shouldn't give it a higher score than Illmatic.<br /><br /><a href="http://hh314.blogspot.com/2008/07/nas-streets-disciple-2004-vbr.html"><br />Can Find A Link Here</a>Unknownnoreply@blogger.com10tag:blogger.com,1999:blog-4019147611321260085.post-87602956235163466232008-10-25T16:13:00.001-07:002008-10-25T16:18:43.450-07:00I ApologizeI started this blog this summer, feeling bored and not having anything to do. I know that lots of the people who actually read this blog are disheartened by the lack of posts lately, and I genuinely do apologize to y'all. It hurts me to know that I was posting daily, and now I'm only posting weekly. <br />Still this is a young blog, very young. Only a few months old, I hope to revamp the layout soon and all sorts of other stuff.<br />I also plan on posting more, so stay tuned.<br />And once more, check out <a href="http://ironflag.blogspot.com">FunCrusher Plus</a>.<br /><br />Also, this site is getting like 3-400 views per day, so if there's anyone who views and would like to help out... SPEAK UP!<br />You can reach me at doctaprodigy@yahoo.com<br /><br />One love to all.Guy Fawkeshttp://www.blogger.com/profile/15188947421727982730noreply@blogger.com0tag:blogger.com,1999:blog-4019147611321260085.post-89039399148421548232008-10-17T06:55:00.000-07:002008-10-17T07:31:21.351-07:00Bushwick Bill/Phantom of the Rapra<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://upload.wikimedia.org/wikipedia/en/thumb/e/e1/Bushwickphntm.jpg/200px-Bushwickphntm.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 320px;" src="http://upload.wikimedia.org/wikipedia/en/thumb/e/e1/Bushwickphntm.jpg/200px-Bushwickphntm.jpg" border="0" alt="" /></a>I'm sorry, I know it's been almost a week since I last posted, thanks to everyone who stopped by anyways. I just looked through the site, and I really felt as though, there is no real 90's southern rap on here at all. And even though, I'm not the Geto Boy's biggest fan by any means, I can appreciate the music Scaface, Willie D and Bushwick Bill have made. I was looking through my collection of unheard CD's and this was at the top, usually I skip through it, but for some reason I really had a lot of motivation to give this CD a chance. Doesn't hurt that I just heard "My Mind's Playing Tricks On Me" last night... one of the finest tracks to come out of the south ever. And I personally find Bushwick Bill to be a pioneer of the horrorcore genre, even more so than Scarface or Willie D. While Big L was earning props in the NYC, Bill had the south on lock. Anyway, good for nothing long ass intro...<br /><br /><span style="font-weight:bold;">The Good:</span><br /><br />2. What Cha Gonna Do- One of the best intro's I've heard in a while, there's something to be said about Bushwick's cool laid-back style which perfectly compliments this chill instrumental. "What you gonna do when the world goes by? I'm a light a spliff and keep getting high". <br /><br />3. Times Is Hard- Another slow relaxing instrumental, this time Bill spits about getting out of the ghetto, and it's really a heartfelt song. <br /><br />4. Who's The Biggest- I was waiting for one of these songs... and it's your typical babble about "size doesn't matter, step to me and I'll kill you". You could listen to it, but you know what's coming next.<br /><br />5. Ex-Girlfriend- Another slow-ass chill instrumental, and Bill is so at home over these beats it's crazy. The topic matter is pretty average, but still Bushwick puts his own different twist on it.<br /><br />9. Subliminal Criminal- Huh... well... He compares himself to Chucky about 25 times too many for my liking, but it's not a bad song. The beat is very interesting, has electronic bass and all sorts of stuff mixed in, still I was kind of bored with this track.<br /><br />10. Inhale, Exhale- This is "My Mind's Playing Tricks On Me" part 2. I swear, listen to the song and the theme is carried over, and the beat sounds almost identical.<br /><br />And that'll do it for this album. Only 12 tracks, and over 200 references to the Devil, Hitler, and Chucky... seemed kind of lame to me, but considering the time, I guess it wasn't too played out back in the mid-90's. Some great production on this album, and when Bushwick isn't lacing the wax with Satanic prayers and what-not this album came correct.<br /><br />0-20: Terrible listening experience<br />21-40: Maybe one good song<br />41-60: A few good songs<br />61-80: Half are good songs, half are weak<br />81-100: Great listening experience, almost all are great songs<br /><br />I give this album a 76... if the Geto Boys are your shit, then you'll undoubtedly enjoy this album, but if your looking for 8Ball & MJG esque southern music... this likely won't float your boat, even less so if your expecting Outkast type shit. Those are my two cents:<br /><br /><a href="http://www.zshare.net/download/bushwick-bill-phantom-of-the-rapra-1995-rar.html">Download Here</a><br />P.S. I know ZShare is down, but this is the only link I could find.Guy Fawkeshttp://www.blogger.com/profile/15188947421727982730noreply@blogger.com2tag:blogger.com,1999:blog-4019147611321260085.post-58631724700375735842008-10-11T09:38:00.000-07:002008-10-11T10:20:11.109-07:00Nas/ The Lost Tapes<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img.crocmusic.com/l/albums/12/nas_the_lost_tapes.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 320px;" src="http://img.crocmusic.com/l/albums/12/nas_the_lost_tapes.jpg" border="0" alt="" /></a><br />I'm sorry it's take me so long to post, that latest post has take a lot out of me. For those who haven't heard yet, I've been working on a new project... <a href="http://www.ironflag.blogspot.com">Iron Flag</a> definitely check it out if you have some time, we're going full throttle ahead. Now, as for this album, I picked it up a few months ago and wasn't able to give it a listen for a while. I guess I can thank my readers for motivating me. Last I heard, this album had tracks from the "Stillmatic" sessions, and a few from "I Am". Looking back on Nas' career is crazy, considering Nas only started fucking with Main Source in like '92 or something. Back then he was just a sleepy-eyed teenager with a knack for mic skills and cadence, and Large Pro or MC Serch never could have imagined that he would become the phenomenon he was today. They were probably even more surprised in '94 when he released "Illmatic". Not that any of that really pertains to this album...<br /><br /><span style="font-weight:bold;">The Good:</span><br /><br />1. Doo Rags- This seems like a song that may have gotten cut from "Stillmatic". The beat is real calm, piano keys and bass. But the lyricism makes this track, when Nas comes with his smooth flow over a real calm instrumental, the result is a very listenable track.<br /><br />2. My Way- I was feeling this track, although the beat wasn't as soft and the song didn't flow as well. I felt that the whole "I Did It My Way" was pretty cliche, but that's probably the only bad thing I can say about this track, it's not great, but by no means is it bad.<br /><br />3. U Gotta Love It- This is more of the Nas I was expecting, this sounds like a L.E.S. job that could have fit on "It Was Written" perfectly. The flow is slower, and Nas settles in to lace some storytelling lyrics. It was really easy to listen to and a revisit to classic Nas lyrics.<br /><br />5. No Idea's Original- I was always, always amazed how this track got left off "Stillmatic", it would have been perfect right after "One Mic". The instrumental is amazing, probably one of The Alchemist's best collabs with Nas. And Nas' lyricism is amazing, don't sleep on this track! <br /><br />8. Purple- The Invisible Man (one of our contributors) gave this song some very high praise. And after listening to it three or four times, I was also very impressed. The production on this track is pretty obscure, Hill Inc. produced it? Still, the beat is simple yet very effective, and Nas goes for more of a storytelling aspect here, and kills it.<br /><br />9. Drunk By Myself- This was a very strange song, the beat itself could have carried a track, when Nas adds his multisyllabic rhyme scheme to the mix it sounds good. But at times this song sounds awkward and forced, especially during the hook. Overall, a great beat and great lyrics but they don't really flow to well together.<br /><br />10. Black Zombie- This was back in the day when Nas <span style="font-weight:bold;">rarely</span> made political tracks. But when he did, the whole world listened, as you should if you haven't heard this song before. One of the best off this album. Another great production job by Hill Inc.... gonna have to check them out.<br /><br />12. Fetus- This track is a hidden...bonus track... on a compilation album. You don't get closer to unreleased than that. And I really do wonder why this track was almost unreleased, it is a great concept, Nas imagines himself in his mom's fetus. An ill track overall.<br /><br />I was really, really surprised by this album, it is very playable and I only had to skip a few tracks on this album. Out of 12, I'd say there are 8 songs that are dope and you need to hear. <br /><br /><br />0-20: Terrible listening experience<br />21-40: Maybe one good song<br />41-60: A few good songs<br />61-80: Half are good songs, half are weak<br />81-100: Great listening experience, almost all are great songs<br /><br />I give this album a 87. It's actually really good for an compilation album... some classic Nas material on here.<br /><br /><a href="http://www.megaupload.com/?d=LO96Y9KT">Download Here</a><br /><br />Password: KeizertijdGuy Fawkeshttp://www.blogger.com/profile/15188947421727982730noreply@blogger.com3tag:blogger.com,1999:blog-4019147611321260085.post-52035845937834402062008-10-06T10:15:00.000-07:002008-10-06T10:16:30.485-07:00What's coming soonTop 100 hip-hop songs list coming soon... review of Black Rob and Nas coming soon. And a review of Blu & Exile's classic by Were Read 2 Def is coming soon!Guy Fawkeshttp://www.blogger.com/profile/15188947421727982730noreply@blogger.com0tag:blogger.com,1999:blog-4019147611321260085.post-63841898825630661042008-10-03T13:15:00.000-07:002008-10-03T15:35:06.527-07:00Ill Bill- The Hour Of Reprisal<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img443.imageshack.us/img443/2158/wgyc5gaq7.png"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 320px;" src="http://img443.imageshack.us/img443/2158/wgyc5gaq7.png" border="0" alt="" /></a><br />I was reading comments people posted, and it seemed like a large number of people actually were interested in an review of this album. I am a huge fan of Ill Bill and Non Phixion Records in general, so I thought why not? I can't front and pretend I know all about Ill Bill so this summary will be fairly short. Started off rhyming with his brother, Necro, someone you should definitely check out if you haven't already. He released a few tracks where he featured with his brother under their record label Psycho + Logical Records (I think it was bought out by Tech N9ne, but I'm not sure). After that it was a CD full of rarities, demo's and all-over rare tracks (this CD was released in 03, yet all the material is from 91-94). Very interesting cover for that CD, anyway after that he released a second CD of rarities and mixtape tracks titled <span style="font-style:italic;">Howie Made Me Do It</span>, this one with a more familiar cover, Ill Bill flipping the bird. Finally, in 2004, William Braunstein released his very first album, (which is still causing waves in the underground community) named <span style="font-style:italic;">What's Wrong With Bill</span>. I honestly believe his debut album to be on par with AZ and Dr. Dre's, it is an amazing piece of work. If you ever look through the production values you probably won't run into even one familiar name... but needless to say the production is fucking amazing for that album. Seriously, check it out! After his debut, he released a semi-mandatory instrumental album (because the production is amazing). Then for the past few years he has been dropping mixtapes here and there, getting some hype for his new album <span style="font-style:italic;">The Hour Of Reprisal</span>...<br /><br />1. <span style="font-weight:bold;">Babylon</span><br />Featuring Howard Jones; Produced by T-Ray<br />At first it's your usual self-righteous album intro, then the choir begins to sing and the drums/heavy metal instrumentals sets in. As a warning, a large part of this album contains heavy metal either in the chorus, hook or in the instrumental or maybe in all three. He actually features a metalcore singer on this track too. The instrumental on this song is really abrasive and annoying, I did not feel it added anything to this track. The lyricism itself heavily outshines anything T-Ray (nice name by the way jackass) could have ever hoped to accomplish. The chorus is sampled from a song which is in a completely different tempo so it doesn't really mesh all that well. But despite all of those negatives, when Ill Bill flows he turns everything upside down with his insane lyricism. And the track appropriately ends with the theme of "Anatomy of A School Shooting" carrying over.<br /><br />2. <span style="font-weight:bold;">Doomsday Was Written In An Alien Bible</span><br />Produced by Ill Bill<br />The first time I heard this song I was quick to label it as weak because of the simplistic beat and awkward flow. But after a second listen, I found the genius of the second verse which is among the best I've ever heard. All the other aspects of the song are pretty average. The hook is in typical Ill Bill style, long and wordy, which makes it difficult to identify. <br /><br />3. <span style="font-weight:bold;">Trust Nobody</span><br />Produced by Ill Bill<br />Way too heavy of an metal influence for my liking. The flow was off, the beat is very quick and choppy which makes the lyrics very difficult to decipher. And when you do get to the lyrics you'll discover that they are pretty weak compared to the above material. This was a delete/skip for me.<br /><br />4. <span style="font-weight:bold;"> A Bullet Never Lies</span><br />Featuring Vinnie Paz; Produced by DJ Lethal<br />Ill Bill and the Jedi Mind Tricks collective have done some incredible work together, specifically Vinnie Paz (the anchor of Jedi Mind Tricks) and Ill Bill have done some great work. The production on this trick is pretty good, although the hook seems really forced and repetitive. Ill Bill once again turns in an average verse, and I believe he gets outshined by Vinnie Paz on this track. <br /><br />5. <span style="font-weight:bold;">White Nigger</span><br />Produced by Ill Bill<br />I heard this track for the first time back in late 06, I'm sure it had been floating around the internet for even longer than that. But I instantly fell in love with this track for the raw emotion and pure logic throughout. I could do without the first 30 seconds but the rest of the song is VERY good. Ill Bill narrates this story about how he grew up in Brooklyn as a white Jew who was attracted to hip-hop. Even though the title doesn't suggest it, this is actually a track denouncing racism, and I believe it is very effective. Probably the best song so far. It's comparable to "Peace Sells" from his first album.<br /><br />6. <span style="font-weight:bold;">My Uncle</span><br />Produced by Ill Bill & Sicknature<br />Another raw emotional song, this one is about how William grew up around drug abusers. I do like this song, but if it were executed differently (maybe minus Ill Bill yelling) it would be on a different plane of greatness. Still a song you should definitely check out though.<br /><br />7. <span style="font-weight:bold;">Riva</span><br />Featuring HR and Darryl Jennifer; Produced by Ill Bill<br />If you can possibly ignore the first 45 seconds of singing, moaning, and singing through nasal cords... you will reach a tribute song for Ill Bill's daughter (I think). But it is more of an insult than a tribute, I'm still grimacing after listening to this song. <br /><br />8. <span style="font-weight:bold;">War Is My Destiny</span><br />Featuring Max Cavalera & Immortal Technique; Produced by Ill Bill<br />Minus the demonic singing on the hook this would have been a decent song... Ill Bill sounds very comfortable and at home over this instrumental, although I can't say the same about Immortal Technique who sounds out of place over this beat. I found this to be one of Immortal Technique's weaker verses and probably his worst collab with Ill Bill. Maybe a delete, definitely a skip.<br /><br />9. <span style="font-weight:bold;">Society Is Brainwashed</span><br />Produced by DJ Premier<br />No that's not a misprint, Primo produced this track and Ill Bill definitely knows it. He comes out blazing and flows lyrical FUCKING murder all over this dark instrumental. The only downside of this track was the out-of-place vocal sample on the hook... otherwise an impeccable song.<br /><br />10. <span style="font-weight:bold;">This Is Who I Am</span><br />Produced by DJ Muggs<br />Two big names in a row... two amazing lyrical performances in a row. On this track Ill Bill explains his career in the rap game and all the shit he's had to go through to just achieve a little bit of underground hype. He rides the beat for a solid two minutes and then Muggs lets it ride out at the end. A really good hook for a change too.<br /><br />11. <span style="font-weight:bold;">Too Young</span><br />Featuring Hero and Slaine; Produced by Darp Malone<br />A very innovative beat, with elements of violin (I think) and soft piano. The first verse starts off slow, Ill Bill's verse is fire, then the last verse is pretty hot too. I wasn't really feeling the hook on this track either. <br /><br />12. <span style="font-weight:bold;">Pain Gang</span><br />Featuring B-Real and Everlast; Produced by Cynic<br />This is probably as close to hip-hop heavyweights that Ill Bill can put together, both B-Real of Cypress Hill and Everlast of House of Pain have been out of the spotlights for a good 10 years. B-Real had the huge hit "Insane In The Brain", and Everlast had "Jump Around", it's kind of a shame that most people will only recognize them because of these songs (it's a shame that some people still won't recognize them). Once again the hook is terrible on this track, and it really upset the great lyricism by both Ill Bill and Everlast... Everlast was on some Immortal Technique shit here. B-Real has always been a pretty weak lyricist and he definitely gets shown up here, and I would have to say it's pretty even between Everlast and Ill Bill, both turn in great verses. <br /><br />13. <span style="font-weight:bold;">U.B.S. (Unauthorized Biography Of Slayer)</span><br />Produced by Necro<br />When I saw this song on the track listing I instantly thought it was a lame idea... I didn't really like Nas' biography of Rakim... but Slayer? Well, I was wrong, this beat is simply put amazing, and it helps me drone out Ill Bill's boring lyrics. I wonder who he thought would enjoy this song? <br /><br />14. <span style="font-weight:bold;">Coka Moschiach</span><br />Featuring Raekwon The Chef; Produced by Ill Bill<br />Raekwon murders Ill Bill on this track. This is probably William's weakest verse off the whole album and it does not come at a good time. Rae has been putting in work lately, I'm beginning to think Cuban Linx 2 (when it comes out) may not be the disappointment it will inevitably be. <br /><br />15. <span style="font-weight:bold;">The Most Dangerous Weapon Alive</span><br />Produced by Necro <br />Once again, this song starts off slow with a lackluster first verse, it is helped out with an above-average (yet not spectacular) hook... and then the last verse is ill as fuck. I'm beginning to wonder why Ill Bill didn't have Necro produced the whole album for him.<br /><br />16. <span style="font-weight:bold;">Soap</span><br />Interlude... can't say it's worth your time, but it does set up the next track pretty well.<br /><br />17. <span style="font-weight:bold;">I'm A Goon</span><br />Produced by Ill Bill & Sicknature<br />This is more of what I was hoping for from this album, less metal and more turntabling... Sicknature's influence on this track in turn makes it more DJ Premier rather than Killswitch Engage. I really enjoyed this track, I can't pinpoint what it was specifically, but it was really well produced and the lyrics were on point. <br /><br />18. <span style="font-weight:bold;">Only Time Will Tell</span><br />Featuring Tech N9ne, Necro and Everlast; Produced by DJ Muggs<br />Necro starts this track off in an incredible manner spitting an fiery verse, then Tech N9ne ruins the second verse,(but I'm biased) and Ill Bill sounds incredibly awkward on the last verse. Not a good way to end this album. <br /><br />Bottom Line:<br />Huh... this album was a very mixed experience. I did not enjoy most of the heavy metal sampling/chorus work on this album. I did however enjoy the Unauthorized Biography of Slayer. Even though this album is only 60 minutes, you will have to listen to it again to uncover much of the symbolism behind Ill Bill's rhymes... or to analyze most of his political and revolutionary tirades. The wide range of guest features on this album adds to it's greatness but also subtracts from it's playability. When Ill Bill does songs with like-minded artists it sounds real good, but when he features unorthodox metal singers on his choruses it just sounds out of place. The production is also pretty shaky, there are a good portion of the songs which are well-produced. But for some reason, the songs I disliked, for the most part were all produced by Bill. At the same time, the Primo and Muggs tracks were great, Necro did a great job and Sicknature helped out too. Not a bad album, but it's filled with holes and mistakes. But that's just my opinion.<br /><br />0-20: Terrible listening experience<br />21-40: Maybe one good song<br />41-60: A few good songs<br />61-80: Half are good songs, half are weak<br />81-100: Great listening experience, almost all are great songs<br /><br />I give this album a 84.<br /><br /><a href="http://w17.easy-share.com/1701551137.html">Download Album Here</a><br /><br />Download: <a href="http://www.zshare.net/audio/199030159609cbce/">Society Is Brainwashed</a>Guy Fawkeshttp://www.blogger.com/profile/15188947421727982730noreply@blogger.com10tag:blogger.com,1999:blog-4019147611321260085.post-17692216847063968902008-10-01T12:57:00.000-07:002008-10-01T18:09:39.949-07:00Heltah Skeltah/D.I.R.T.<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://store.duckdown.com/images/products/detail/image001.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 320px;" src="http://store.duckdown.com/images/products/detail/image001.jpg" border="0" alt="" /></a><br />Yeah, I know the album cover is just fucking ridiculous. But name one hip hop head who hasn't been waiting for this album to drop. Forscore and 12 years ago, Heltah Skeltah released an equally goofy album cover, both rappers hanging from the sky... in Twista "Kamikaze" fashion. As goofy as that album cover was, the music inside was gritty as hell.. if you haven't yet heard "Nocturnal", it should definitely be on your to-do list of Golden Age hip-hop. For those who have heard "Nocturnal" and "Magnum Force", this is obviously an album you had your sights on for quite some time. It's been ten years since Heltah Skeltah has released an album. Don't get it twisted though, both Ruck and Rock have been grindin out street singles on a consistent basis for those 10 years. In fact, they joined a hip-hop supergroup known as "Boot Camp Clik", which is them, Buckshot, Smif-N-Wessun and O.G.C. It is kind of like the East Coast's version of the Four Horsemen. Combined with the critically acclaimed first two albums and the huge underground of the Boot Camp Clik, this album has got crazy hype attached to it. I only wonder if it deserves the hype...<br /><br />1. <span style="font-weight:bold;">Intro</span> <br />Featuring DonRocko, BummyFlyJab and Alkatraz; Produced by D Dot<br />Imagine what's happening on the album cover in song. It's just a messy mix of death threats, bullet shot sounds, and random yells of "Heltah Skeltah" or "Boot Camp Clik"... and then Ruck (I think) decides to spit a few bars at the end. I guess it's alright for an intro, but I would skip it.<br /><br />2. <span style="font-weight:bold;">Insane</span><br />Produced by Marco Polo<br />I wasn't really ready for this track, but after about one minute I got really into this track. Marco Polo does a great job on the instrumental, especially with the dark, eerie mood he provides, and also with the "insane" sample. Heltah Skeltah rips this track a new asshole with their lyricism, I was really impressed. <br /><br />3. <span style="font-weight:bold;">Chipmunk 3000</span><br />Produced by Fatim<br />I don't have much to say about this track. I wasn't really feeling it at all.<br /><br />4. <span style="font-weight:bold;">Everything Is Heltah Skeltah</span><br />Produced by Ill Mind<br />Definitely feeling this track. "Fuck with Charlie Manson, tell you everything is Heltah Skletah". This beat is very simple yet it fits almost perfectly to the rhymes. The lyrics are great, and it's just a great song overall... I repeated this song 3 or 4 times. <br /><br />5. <span style="font-weight:bold;">D.I.R.T. (Another Boot Camp Clik Yeah Song)</span> <br />Produced by Khryis<br />"You so subpar/ you subleasing/ Subway sandwich eating, sucka type/ Sucking your teeth in/Substitute the subliminal shots with some shit that sounds like the subwoofer when it go Rah Rah" Need I say more? This track fucking bangs! Also look for the same sample that Kanye West used on "Wouldn't Get Far".<br /><br />6. <span style="font-weight:bold;">So Damn Tough</span><br />Featuring Buckshot and Ruste Juxx; Produced by Ill Mind<br />Another raw-ass instrumental and some more grimy, gutter rhyming. The lyricism is amazing on this track... and watch Buckshot outshine everyone on this track.<br /><br />7. <span style="font-weight:bold;">WMD</span><br />Featuring Smif-N-Wessun; Produced by M-Phazes<br />Easily the best song so far. The Smif-N-Wessun verses are AIDS sick! Ain't no fucking with this track.<br /><br />8. <span style="font-weight:bold;">That's Incredible</span><br />Produced by Double Up<br />The beat is really boring, I was hoping for more from Double Up. And when Heltah Skeltah gets on the mic their verses are real weak. This is a skip for me.<br /><br />9. <span style="font-weight:bold;">Ape Muzik</span><br />Featuring The Representativz; Produced by M-Phazes<br />If this song was acapella it would sound like some 90's lines. I liked The Representativz verse's, but Ruck's verse was ill as hell. The beat sounds like a Dipset freestyle instrumental (in the best way possible of course).<br /><br />10. <span style="font-weight:bold;">The Art Of Disrespekinazation</span> <br />Produced by Khrysis<br />"Fuck rap riddles, get shells yo/I'm a beast, you a bitch like tickle me Elmo".... You gotta check this song out, cuz it's propane fire.<br /><br />11. <span style="font-weight:bold;">Hellz Kitchen</span><br />Produced by Evidence<br />This beat is straight fucking horrible. If it wasn't for the track-saving lyricism I would have skipped instantly skipped it. The lines on here are crazy, but the instrumental is what ties it all together, and it's nearly non-existent.<br /><br />12. <span style="font-weight:bold;">Shmack Muzik</span><br />Produced by Sic Beats<br />This song is the opposite of the above one, you've got an appropriately sick beat... only the rhyming is boring and monotonous. The hook is terrible too (one of the very few times I can say that about a Heltah Skeltah track). <br /><br />13. <span style="font-weight:bold;">Twinz</span><br />Produced by Ken Ring<br />I'm not really a fan of slow beats and quick flow... but I guess if that's your thing, you will like this track. Once again Ruck saves this track from obscurity with his great verse at the end. But it's too little too late.<br /><br />14. <span style="font-weight:bold;">Ruck N Roll</span><br />Produced by Stu Bangas<br />Who hasn't freestyled over this beat yet? Seems like it was only Heltah Skeltah, and now that they've done their freestyle on this track maybe we can get rid of this instrumental already. Not exactly the ideal way to conclude your return to form album... but it's different strokes for different folks.<br /><br />Bottom Line:<br />This album was everywhere, from great songs like "WMD" and "D.I.R.T." to what were they thinking like the intro and "Chipmunk 3000". I found much more successes than failures, but at the same time I had no clue what the hell I was listening to way too often. I respect that Heltah Skeltah is trying to be "different", but they sound like jackasses just like the album cover at times. I say this has about six or seven tracks that you should hear, about five or six that are average, and then two that nobody should waste their time on. <br /><br />0-20: Terrible listening experience<br />21-40: Maybe one good song<br />41-60: A few good songs<br />61-80: Half are good songs, half are weak<br />81-100: Great listening experience, almost all are great songs<br /><br />I give this album a 78... like I said it's on and off.<br /><br /><a href="http://rapidshare.com/files/148052644/Heltah_Skeltah-D.I.R.T.-2008-C4.rar">Download Album Here</a>Guy Fawkeshttp://www.blogger.com/profile/15188947421727982730noreply@blogger.com7