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It's been some time since Shabaam first dropped on the Rawkus label. At the time I was really feeling the man's lyrics and production. This new single is a far cry from his tracks during the Rawkus Soundbombing haydays. While the beat definitely Bubbles on "Bubblin'" (produced by Tahir of Hedrush), the verses lack Sahdeeq's past appeal, and the chorus is kinda boring. The B-side to this track, "We Holdin'" is hardly worth mentioning. Both the beat (production by Mark Walsh of Fluid Productions) and the chorus drag, but Shabaam comes off aiight at least.
You know what you can count on with Def Jux releases? Beats for days! This single definitely delivers there. Unfortunately, Aesop Rock doesn't really live up to the Omega One and Blockhead production. For the instrumental lovers out there, definitely check for this one. Emcees will like you!
This independent Toronto group have some work to do. With mostly unpolished production, barring the eclectic "Sess Squads Cumin", and emcees yelling often empty lyrics at the mic, this release falls short of what the T-dot has to offer. There is promise in the Golden Disciples clic though. Skip this single, but watch out for later releases from these cats.
The next release due out from a streamlined Rawkus Records is the return of Kool G. Rap, and "My Life"(1) sets a positive tone for this upcoming project. The sample flipped may sound familiar, as Common used it a few years back but I can't at this moment place where exactly. The upbeat, Zap reminiscent hook (courtesy of G Whyse) gives a somewhat clubby feel to the track, something that has not been heard of much from Kool G. Rap, the grand daddy of all that's gangster. However, G. Rap doesn't hold back in his lyrics, even if it's something more appropriate for the clubs…the rough neck, gun talk is still there, just toned down a little. This is a dope track, much more pleasing to me than the first G. Rap single I heard from this new album featuring DJ Premier.
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Mystic is winning with this remix of "The Life"(1). The beat is lovely, kinda on some Soulquarian-type vibe, providing nicely for this trio's discussions on life. Mystic enlists Kam and Kweli to "breathe new life" into her successful original. Each emcee stays tightly on topic, dropping experienced verses about their views and observations about life as they know it. Though Mystic and Kweli seem to stand out a bit more on this track, Kam drops notable street knowledge and rounds out the content nicely. I can't make you buy the record, afterall, it is YOUR life.
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Mr. Complex has returned follwing a bit of a break, now landing on a Belgium based label, distributed through Landspeed. "Rhapsody"(1) is a track that either people will dig or hate. Some will take the use of rap (the "Rhap" in Rhapsody) groups name in verses describing the intrastructure of a city (the "sody" in Rhapsody) as being pretty corny, however, knowing Mr. Complex's previous nature and track record for acting the clown makes this a pretty fun track for me. Just something to sit back and take in, not really making much of the lyrics, which in a few cases are even a bit clever. Also his coverage of hip hop acts fro the mainstream to the very underground is tight. Diggin the production as well, laced up by Lee Stone.
The B-side "Everybody Everywhere"(2) is the real banger on this 12" though, with lyrics being tossed back and forth between Complex, Punch & Words, El Fudge, ERLDOTCOM and Invincible. Check in particular the hot potatoe thrown between Complex and Invincible, where they start and finish one anothers words, word by word, something you don't hear displayed by emcees much these days…wordplay. Production duties courtesy of Chris Jarvis.
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This record just got a nice vibe to it. Do yourself a favor and give in to the melody of "Elevator Music"(1). A nice bouncing bassline accentuated by a breezy vocal sample allow for live guitars, yeah that's right LIVE. Ahh, refreshing like ripe mango. Asheru & Blue Black do nothing to take away from the loveliness of the track, opting to add simple, adlib-like lyrics.
"B-Boy"(2) has a playful summertime cookout kinda feel. The guitar sample is reminiscent of Q-Tip's "Lets Ride" and there's nothing wrong with that. Some might be looking for more in terms of emcee presence, but all I gotta say is take in the songs wholly and you'll understand why Asheru & Blue Black do what they do. To quote Ichiban "These guys sound like a new school Native Tongues." Need to hear anything else about this record...then go pick it up.
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As soon as I got this new 12", I was amped to pull it out the sleeve and throw it on the Tech 12's. The last 12" that they put out "Weight of The World"/"Step Inside The Lab"/"Foundation" was a low budget piece, but still tracks that gets spun on the regular. I was never sure where they were from, but with their recent signing to Landspeed for a P&D deal, I've discovered Pitch and Cadence are Boston natives, and join with fellow Bostonian Mr. Lif on two solid mixes of "I Am Myself"(1). The original is some nice smoothed out mellow stuff, self produced by Raw Produce, as is the entire 12". I never thought their lyrics were outstanding, but they hold it down, and stand and deliver every time I've witnessed them on the mic.
"I Am Myself Remix"(2) boasts a little more energy and creativity with a classic jazz loop, as well as a great switch up in the beat to start of a solid performance from Mr. Lif. The remix punches Lif's verse out there a little more than the original does, due to this beat change-up.
The flip starts off with "R.A.W."(3) flipping a classy piano loop, and intermitant horns, with the original Big Daddy Kane R.A.W. cuts redone as the hook. The lyrics on this track aren't as impressive, but they redeem themselves on the bonus cut "W"(4) where they take a couple minutes over a very simple, clean beat, to take shots at their current head chief residing in the Oval Office.
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Finally, people who understand that hip-hop music can still be music. RjD2 is pushing boundaries with this Def Jux release. "June"(1) features two short verses from Copywrite, who puts so much heart into his lyrics that you can feel his pain. RjD2 provides an amazing soundscape, and Copywrite reciprocates with deeply personal words. The music that ensues is beautiful, ugly, and inspiring. Its tough to describe this record, so stop reading and go pick it up. If you've been waiting for somebody to wake up your musical senses and provide you with a vehicle to take you somewhere you've never been, then June is your ticket, and check the equally solid "June remix"(2).
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"Elements of Style"(1): This beat is pretty dope. It's a real understated track, as Capital D, Marad and Allstar tell about how they, and all Chi-town, be "stylin' it." This track is not a showstopper, but you can zone out to the beat. No one seems to control the track on the emcee tip, but all I really hear is the bassline and xylophone anyway.
"The Return of the Avenger"(2): Molemen laced this beat somethin' nasty. The beat is all I hear. Maybe it's just me, but Capital D can only play the understated emcee so many times. This beat is screaming for someone to take ownership and to me, Capital D doesn't claim it. I'm just callin' it as I hear it. The beats on this record are dope and might even make it worth picking it up just for the instrumentals.
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"Holiday Pay" (1) flips the familiar sample made famous by Tribe's "Lyrics To Go" over a pretty hard, southern edged drum progression with Tahir dropping some lyrics with a message about his views concerning the "statuatory holiday" and how it's a gloss over day for government schemes or commemoration of previous negative events in black American history. I didn't feel this track at first, due to it's harshness over such a smoothed out sample, but I'm feeling Tahir's lyrics and in the end the raw production works for this cat who I presume is a Florida native.
Tahir raises the militant level on "Plow-Plow" (2) where he takes aim over a angry ass beat that just screams, something reminiscent of "Three 6 Mafia", but saying a bit more lyrically and even more energy. I gotta admit, I dig that Florida rhyme style that Tahir flips along side Nimrod and the king of pro-black M-1 of Dead Prez..
This single is a little rough at the edges, but I think that was the way it was meant to be. Genuine anger put forth here.
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"Main Attraction"(1) started with this nice little guitar sample that had me kinda open, but I was a little disappointed when the beat didn't have the energy I expected. I did get over it though, and the track is nice. Wee Bee Foolish discuss the events of their weekend, flowing steadily over a smoothed out beat. There's nothing groundbreaking here, but not bad.
"Whatcha Need"(2) picks up the vibe a bit more, with chopped bell and flute samples, and a cut chorus. Content outlines the emcees pasts growing up during hip-hop's prime in New York. Again, Wee Bee ride the track well, but pretty straightforward.
"Doin' it Up"(3) is my least favorite of the three. It seems a little uninspired.
All in all, Wee Bee showcase potential with this single, and I'm looking forward to hearing more from them in the future. I just hope that their next release will have a little more substance.
SIDE NOTE: Toronto emcee Aysicks (featured on DJ Serious' Dim Sum) has signed with Hedbop Music, so look out for product from him next year.
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Saigon was a new name to me, just as many releases that have squeezed though the independent hip hop pipeline of recent. "Say Yes"(1) is pretty commonplace in terms of topic, an emcee questioning the legitimacy of self proclaimed thugs, something that's been done to death in hip hop, and really doesn't warrant much imagination. On the positive, the production by Alchemist isn't bad, but nothing that I'd consider impressive.
"Contraband (A, B, C, D…)"(2) gets an B+ for the concept of forming verse structure around a series of multiple choice questions asked by Saigon, something a little different, not that the questions require complex answers, based again around the topic of "fake ass emcees." The beats by Agallah.drag on…very blahzay.
"Now A Days" (3), well, as you guessed it…surrounds itself around the "niggas" that "ain't sayin' nothing", hmmm…seems like a theme we have going here? Don't it?
Thus, overall, we're looking at a B+ top grade, but an overall average of I'd say a C- due to lack of imagination and depth. Looks like it's back to school for Saigon.
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The Beatminerz first single on Rawkus Records features two tracks tailored specifically for their featured artists. The A side, "Take That"(1), features Flipmode Squad, and is definitely trademark Flipmode material. A rowdy headnodder, utilizing a low bouncing bass, combine with guitars and spaces noises; take that! If you're a Flipmode fan, then this is for you.
The B-side, "Extreme Situation"(2), features Coco Brovas on a dancehall-flavored riddim. Ok, so the Heads High interpolation in the beginning was unnecessary, but the rest of the dancehall noises were a nice touch. This is more of a back of the dance joint than a front row banger. This track is no Sound Bwoy Burreil, but it's worth a listen.
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Yet another banger from Cali's Zion I, this follow-up 12" to the Mind Over Matter LP, offers two brand new cuts from a group putting the fun back into hip hop on the west coast.
"Boom Bip"(1) leaves off where their last hit "Critical" left off. With some super smoothed out production, on a vibe reminiscent of classic Ummah, modernized with a electronically spacey touch (see DJ Spinna), this track is what the term "ear candy" was made for. Also falling into the summer-jam category, I can see Boom Bip with it's playful chorus, receiving some heavy rotation over the summer months...a summer classic for y'all!
The flip "Le Le Le"(2) offers another nursery rhyme feel chorus "if you really love ya mama say Le Le Le...", over a beat that well, doesn't quite stand up to the previous, but still maintains the very very spacey sound that Zion I has made familiar with their music.
This is another strong effort from Zion I, look for it to hit radio on April 17 (2001), and all you deejays...don't sleep on this records...if you want that BOOM BIP...WE JUST FLIP.
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"Rockin The Mic"(1)
Whooh! This makes me feel like a double agent b-boy spy in paris, creeping around some catacombs at two in the morning during a crucial part of the movie. I hope I find what I'm looking for before those nasty french government goons get me! Anyway...Freestyle is dope as always and does well with the material.
"Enemy Of The Crate"(2)
Hey, there really is a spy-ish theme going on here! It seems Freestyle is in trouble for being too real, and some bad guys with a lot of high-tech gear are trying to get him, too! uh-oh. The beat sounds like a really good hip hop version of the music in N64's "Golden Eye" [player vs. player with rocket launchers...fuckin A!]. Man, this is a great record, I love it, really interesting production with solid lyrics. is that too much to ask from everyone else?
The two instrumental tracks, "Prunes Theme Pt. 4"(3) and "Steel/Scorpio"(4) are just as good as the rest, and the remixes and everything, just great. I'm tired so this review probably sounds retarded...just buy the damn record.
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MOP return hot off their WARRIORS release on LOUD, with a new collaboration with DITC, obviously contributing the production on this track courtesy of Showbiz...nice to see you back man.
"Pounds Up"(1) doesn't lose any ground from the momentun of their most recent full length, with more bangin' ass beats that the term dirty could be an understatement, when laced with the furious rhymes of Lil Fame and Billy Danze. The Mash Out Posse hit with their usual abusive and obtrusive lyrics, rounding out another strong showing from the Brooklyn natives.
SIDE NOTE: props out to MOP for their very successful benefit performance over Christmas, in Brooklyn NY, raising money for a food drive for the homeless in their stomping ground.
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Hmmm...it's good to hear from ED O.G., although, meh, I dunno. The production on the first track, "On Dogz"(1), is decent, but nothing to write home about. Lyrically ed hasn't seemed to deteriorate at all. I mean, I'll tell you straight out before i go any further, this record isn't really my thing. I don't hate it or anything, but i can respect it, and i know there's probably a lot of people out there who will like it. On this track, nothing really stands out too much, and the chorus is kind of weak. production by RICH 5.
"Too Much To Live For"(2) is better than the other songs, but again, not really my cup of cyanide. Lyrically, ED is just basically talking about being hip hop, and growing up and what not, and he's being honest and heartfelt.
Shit man, I just can't really get in to this record, it's just not me. I don't want to dis it either, because it's not like it's bad or anything. The beats sound like a combination of Primo and Pete Rock, but, something about it just isn't clicking with me. Again, I know a lot of people will like it, so, I'd suggest you buy it. If you like ED, and you're not too put off by certain kinds of smooth-ish sounding beats.
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Saul Williams is lord. You cannot, I repeat, can NOT, under any circumstances, fuck with Saul Williams. Saul is also pretty sick of your shit, and he's not going to stop kicking your ass until you learn. I could listen to this guy rhyme over anything, hearing his records are some of the only times I could care less about a beat. Having said that however, the production on "Penny For a Thought"(1) is fuckin murderous...I've never heard of this "MUSA" person before, but god damn s/he makes some poison music, it's like, what the bomb squad would sound like at full steam in 2005, but at the same time it's reminding me of back around 1992-94 when the beats were better and people's expectations were higher. Maybe it has something to do with Rick Rubin's co-producing both of the tracks on this record... 108 mics.
"Purple Pigeons"(2)...even though Saul Williams scolds you, he explains to you why, and you understand that you were wrong, and that he wouldn't punish you if he didn't care. He tells you that an act of creation is an act of god. Well shit, if you're god, you got no excuse to be wasting your talents and blaming other people for your problems. Get off the couch and create reality, dammit. Production on this track [courtesy Orko The Sykotik Alien...never heard of him either] is pretty sinister with very mean guitar action, and it gets you in the mood to hand beat downs [psychic or physical] to motherfuckers in the way of you getting your shit together. Listening to this record makes me feel like a bad man. Which makes me say I'm a bad man. And words are creation. Ergo, I AM a bad man. All praise is due to Saullah.
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What the hell! Well, the only disappointing thing about this record is that "Paste" is the only new track. Otherwise, for those of you who don't own "The Sanity Annex" LP, this 12" is a good introdcution to how fucking dope these cats are.
"Himbro St."(1) is relatively laid back without lacking energy, some nice 3:00am type shit with live guitar and bass, which we can always use more of [hey you...yeah you in the back what's your name again, yeah, hip hop, it's time to start playing some more instruments god damn it]. Sorry to be nerdy but I would have liked the snare to be a little louder. But I mean, it's not my song, and it's still dope. Track 3 on side A has no name here for some reason, but on the album it's called "Sara-inge"(2). Lyrically, we're discussing some issues with the ladies [or certain lady] on this one. Production-wise...whoo! One of the reasons I love sonic sum so much is because it's some of the only hip hop suitable for hanging out in cemeteries on a cold night. This is serious winter summer music [or summer music, whatever, this'll be in heavy rotation for quite a while]. Choral samples are go!
Side B, "It's An Ashtray"(3)...anyone who successfully works the word "Magnanimous" into a chorus gets a fuckin gold star. Again, the tempo is on the slower side without being boring at all, and there's nice use of strings on the chorus. As for the new track, "Paste"(4), it's a little faster than the other songs, and as soon as the bassline kicked in I knew I was going to like it. Some cool spacey-sounds going on the background, and a dope chrorus. Lots of little bits and things happening with the production, subtlety good.
Sonic Sum is one of those groups I didn't really like too much when at first I heard them. But as always, the shit that grows on you is what you end up liking the most, and this is no exception. Overall, the production is interesting and well thought-out, no slapdash foolishness happening here. Lyrically there's lots to hear and lots to think about later. If you already have the full-length, it's worth it to pick this up for "Paste", the fun cover art, and the clear vinyl [wacky vinyl is another area i wish hip hop would explore a little more often]. If however, you've never heard Sonic Sum, pick this up, give it a few chances, and you will find you have a new addition to your hip hop favourites list.
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My main problem with KRS ONE is that he usually says all the right things in his songs, and then i hear him in interviews saying stupid shit. I heard him the other day saying Bill Clinton was the first black President. Yeah that's great. Anyway, the song "Hot"(1) is pretty good. The production [courtesy grand daddy i.u. and jazzy jeff...what!] is simplistic but, it's still fucking dope. Lyrically Kris gives the usual "I'm here to save you from yourselves" anti-materialist tirades and chastisements of the hip hop community. So uh, does this mean no more songs with puffy?
"Get Yourself Up"(2) has an awful beat, I mean, just terrible, produced by Kris himself. The chorus isn't that bad though. I think he's trying to appeal to the more underground heads with the beat on this one, but if that is the case it's not working with me. Fuck underground anyway. Also, I get put off when people put a lot of god talk in their lyrics [except for dungeon family and d'angelo]...and when they call hip hop a religion. Fuck off with that foolishness, I'm hip hop, don't go saying I belong to some damn religion. I might have liked hearing that when I was fourteen but not now.
Yeah, if you're a die-hard KRS fan ga'head and pick this one up. Personally I feel uncomfortable giving this man any more of my money.
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Whatever. This fool is trying to sound like DMX or something. He's talking about "Dying For Rap"(1) and meanwhile he does a song for that stupid racist hip hop exploitation flick "Save The Last Dance", a movie that's trying to sell white people some retarded CEO's idea of hip hop. Fredro might as well rap in an animated commercial beside a gold rope-wearing dino who's using his tail to scratch records and betty exclaiming "funky" while fredro ingests a grape-flavoured mr. slate, followed by a wide grin and a big thumbs up for flintstones chewable vitamins. The best thing "Firestarr" could do for rap is...well...read between the lines.
The beat is dry, the lyrics are insincere, and the last thing you should ever do is buy this record.
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After having to sit through some of the garbage I was asked to review, this was certainly a welcome change.
What a great record! "Accepted Ecclectic"(1) makes me want to act like a retard and film a video for it in the back of my old high school with a cheap vhs camera from 1990 that weighs like 40 pounds. It's so good, it's so much fun! It's pretty up-tempo, and there's a nice progression in the samples used by "handle bars" Nick Seil, some nice oboe and classical horn stuff going on. the production is like playing around in a weird forest on a late summer night, warm and high on pixie sticks and coca cola. But don't worry, there are no monsters in this forest, just your weirdo friends, nice animals, and hot chicks to make out with. Kind of reminds me of an older Siah and Yeshua song, but with it's own definite sound. It's always a pleasure to hear Aceyalone on the mic, especially with lines like "I had a crazy people party and invited you"...fucking brilliant! I wanna to go over his house and eat chips.
And the fun continues on the other side, where you've got "B-boy/The Real Mccoy"(2). This time you're in the forest again, but there now there are monsters. Don't worry though, in the last song you befreinded them with your dancing, and everybody's cool. So you leave the forest, and you're back downtown at around 3:30 in the morning with your friends, looking for something to get into. There's a relatively sinister bassline happening, and your chorus is...okay nevermind this is getting too involved for me. But yeah, the chorus on this one is great "I'm a b-boy, I'm the real mccoy, I'm chocolate all over like an almond joy". I might be white, but this song still had me clapping my hands and saying that shit like it was the truth. There's a nice bouncy feel to the production, courtesy Jizm. Well i mean, it's not exactly sinister but...you know when you're drunk, and you're feeling happily lecherous, and not in a way that would lead you to be rude or anything, but you might hit on your friends of the opposite sex? Yeah, it's got that kind of feel. it's just one of those songs that makes you say, gladly, to the rest of the world, "Hmmm. I'm hip hop. Too bad you're not".
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Rubix hooks up here with a heafty line-up, resulting in a 12” well worth the ducats dropped.
“Revitalizing”(1) pairs up Rubix with J-Rawls of the Lone Catalysts who holds down production on this track that has signature Lone Catalysts sound. I really like how Rubix flows over the beginning of the cut, but declines as the song progresses. Rawls beat is alright, but gets a bit repetitive after a while.
“Imagine”(2) is the gold on this 12”, presenting Ge-ology of Beyond Real fame on the beat, obviously having been influenced by DJ Spinna through time. Further raising the level on this track is an appearance by Truth Enola, who sadly was absent from the recent De La Soul album. One of my favorite emcees due to his unique flow, E-no-lie adds the flavour to this track that works well with Rubix, who performs well when working with another emcee.
“Terra Firma”(3) features Talib Kweli on the hook, with a nice mellow track courtesy of R-Thentic. The simplicity of the track is what works here, with Kweli's commanding spoken word type hook, Rubix rounds out the 12” with a solid performance, ever so slightly sounding like Mos at various points in the track due to his lispy flow. Maybe it's just me…so used to hearing Mos with Kweli.
Eventhough his rhymes aren't as up to par with his guests, he still holds it down.
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Ahh…what do I hear…Jay Dee solo LP? Fah shure, Jay Dee will be bringing a solo LP on the UK based BBE (Barely Breaking Even) entitled “Welcome To Detroit”, featuring Phat Kat as the showcased emcee. This 12” appears to contain two cuts not slated for the BBE release, which Jay Dee has released on his own imprint.
“Me and My Man” is an average cut for Jay, nothing that really astounds, but it still has that Detroit bump that we've grown to love. Lyrically…well…it's pretty average, not really sayin' much, and a lot to just ad lib type vocals, Detroit style…haha.
“Love (A Thing of The Past)” displays a more Ummah vibe, something that would have fit well on a Tribe album. Now, I gotta say that Jay Dee doesn't hold up the mic quite as well as Tip and Ali, but it's a nice track to bump on the radio and get the rumps move in the club.
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It was a bit of a wait to hear a full LP project from Motion Man, but it was definitely not a disappointment. With Kutmaster Kurt on the beats, DJ Revolution on the cuts, and Kool Keith at his side, Motion Man holds his own, and displayed what had made a name for himself on appearance on such radio shows as The Wake-Up Show in L.A., and last years Sub-Text hip hop compilation.
“We All Over” is a nicely produced track by Kurt, with a nice oriental string sample, booming bass, and horns on the hook. Motion Man and Keith pass the mic back and forth with ease, and really complement eachothers flows. The reason I really felt Motion Man is that he's not as “out there” as Keith, with rhymes that you can actually follow and understand, something that can't always be said for Keith.
“Souped Up” is my choice on this single, as well as one of the best tracks on the full LP (see upcoming review in REVIEWS). With it's fast pace, bouncy track, hitting drums, and of course Keith going off about his distain for the jiggy type emcees makes for an ill track.
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Common returns to add a little funk to the Chocolate smooth of Geto Heaven, courtesy of those hard working Soulquarians ?uestlove and James Poyser.
This remix is one that will definitely make it dancefloors everywhere, with almost a funky house feel to it, but still maintaining the elaborate orchestration and instrumentation that only those hard working Soulquarians can bring. Climbing strings, flowing harp and ?uestlove's solid drums make this one of those truly feel-good songs, with Common dropping his ever intelligent and positive lyrics.
Jiggy deejays to the hardcore underground heads, all will dig this single.
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Canadian black-asian connection Brassmunk return with a follow-up to the crowd favourite, TDot anthem “One Two”, with a bit of something for everyone. The lead single “Live Ordeal” caters more to the thuggish ruggish cats, incorporating an MOP type rock approach, with heavy guitar and driving analog bass. Produced by group DJ/producer Agile, the track brings out the essence of Brassmunk, a group that has that real raw image and flow. The accompanying video, which you can check out through our opening page, is directed prefectly to bring out this same image. Props to Anna on the great directing.
“Rise Up” produced by Mr. Attic of Da Grassroots, appeals more to the backpacker b-boys, with jazzy piano loop and a real positive feel to the track. In general, Brass' lyrics are very simple, not only here, but overall, which may not appeal to the lyrically stimulated, but it's rather the cohesiveness between emcees and solid delivery that bring things together. Not to make comparison to the U.S. setting the standard, since Toronto and Canada as a whole have their own unique vibe, but I feel that Brass have the most potential to cater to the U.S. crowd due to their rhyme style and rough edge manner.
“Serious Business”, the bonus cut on this album, also featured on DJ Serious' “Dim Sum” LP, is a bit mellow for Brass…if sped up about 30 bpm, this track may bang a bit better and work more to the groups advantage. All in all, a good 12”, one that showcases the core of this group perfectly.
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Ahh…ED O.G. has finally returned, and is pretty impressive on this new 12” from his upcoming Ground Control album featuring some of the best in hip hop today.
“Sayin' Something” brings on the touch of DJ Premier, where ED flips some nice lyrics, obviously having keeped up to date on his skills and coming off strong in his return to the game. Of course, as many have noticed, Premier has been a bit stale at times, with a lot of repetition in his newer beats, but it's all about having the $ to get the cream of the crop beats. This one is an average cut for him, but still works will with ED…a good cut to flip anywhere you're playing.
“What U Know” is produced by The Teamstas, I believe residing in Detroit, but don't quote me on that. Contrary to some people who have commented on the track being a bit repetitive, I'm definitely feeling it, I think even moreso than the Primo track. The simplicity of the production with its orchestral sample, makes for a great freestyle type beat, and with Planet Asia blessing the track…well…you can't loose.
As mentioned in our NEWS section, the full LP “The Truth Hurts” will feature contributions from Pete Rock, Guru, Black Thought, Tajai and Casual and more.
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The lead emcee in the tour champs, The Roots, Black Thought comes with the debut 12” to his forthcoming “Masterpiece Theatre”. Now, going a bit against the traditional upbeat debut, Black Thought keeps it pretty dreary and mellow on this lead single. The single lacks the “hype” factor that a lot of lead singles from The Roots camp hold, with catchy hooks or infectious insturmentation, and rather takes a more lyrical approach, with the music being more just a backdrop to Black Thoughts lyrics. Eventhough lyrically he comes tight on this track, I think it falls in that average category of hip hop singles, that are cool to listen to, but not something that really stands out.
I do have to admit, after listening to the single more, the more I got into it, but still…it remains just an average 12” in my mind. Now, keep an ear open for the next single, which Black Thought flipped at the OkayPlayer show, which we really high energy, and incorporated a sort of drum'n'bass approach to it.
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The first major single release off of Rasco's Pockets Linted label imprint presents a solid A-Side 12” that well represents what Rasco has in store for heads in the years to come. The lead single to his first full- length release “20,000 Leagues Under The Street: Volume 1” (see upcoming review in REVIEWS).
Rasco flips his classic commanding lyrics over a simple, but effective 4 bar string sample on “Gunz Still How”, cooked up by Memo of the Molemen. Dropping realistic lyrics, and common sense knowledge in this joint, Ras gives some good advice to the younger cats out there on how to keep your business tight, showing that there's more to hip hop than the “bling”…such as family, financial stability and sensibility.
FL II debuts with “Stomp”, produced by Richness. Sounding a little like Planet Asia in flow, FL II hold down an average track, over equally average production. This isn't the greatest track, but definitely something better to listen to than the new Cash Money ish.
Check out the Pockets Linted website at www.pocketslinted.com.
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This was a single that came out of nowhere, a promo type single from Ground Control, from this new West Coast group Substance Abuse.
Production handled on all tracks by NO, this three cut single has some interesting material, with a unique sound. This experimental style is a bit reminicent of DJ Shadow, especially on “What The Fuck You Rhyming For”. “The Truth Is Obscene” is more old school influenced, with raw sampled double-time break, and heavy bass. “Withdrawls” drops some ill horns over a dirty track that gets the neck snappin.
Lyrically I was pretty impressed, tight flows and well thought out lyrics, with accents on a Hiero tip, this is like some Heiro ish but with better beats. As you all know, the Hiero crew has been lacking on the beat tip of recent.
Pick this one up if you can find it.
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Extra P, who's been back and forth on the scene, and had the worst of luck in terms of getting his shit out, has finally landed a deal with Matador for a series of 12" releases that will showcase both his production and lyrical skills.
"Bout' That Time" is a fast pace track, a little more stripped down compared to past production from P, and as with an almost electronic influence to it. I do miss the more jazzy type production from past projects, back with Main Source and all, but this is something new for him and not all that bad. Lyrically, well, there's not much that's changed…still the same ol' Extra P.
"LiveGuy Saga" is also on this more electronic type tip…less sample influnced production, and more production from scratch. I guess there's always a time for change, but I'm not sure if P had to change, since his orginal formula seemed tight.
An alright single, but was less than what I had expected from a Large Professor return.
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The Masta of ceremonies returns with Brooklyn native Gennessee, on an old school influcence track courtesy of UK's production heavy weights The Creators. Both Masta Ace and Gennesse come off with a solid performance, questioning the current state of wackness in hip hop today. A cool little dittie trashing the mediocre BET emcee.
The orginal version hooked up by Paul Nice is alright, but his instrumental break snippits included on this wax are much more interesting. A nice display of talent to an producer who's worked with such artist as Planet Asia, Rasco, Swollen Members, AG and Nightmares On Wax.
Check out more from Fat Lace magazine at www.fatlace.com.
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Q Ball and Curt Cazal return for late 2000 with a new 12" release, again from D&D, and this time around the resulting product really isn't much to rant about.
"Lean To" is a self-produced cut by Curt, with a very mainstream type structure, on that slow jiggy roll, that gets repetitive after a while. Lyrically these cats have been nothing above ordinary, so in that regard it's what I had expected. This could work as an early evening club cut, but nothing further.
"That Real Live"…hmmm…do I hear Swizz Beats? Well, not exactly…it's Curt again, but with those cheesy keyboard sounds I could have been mistaken. Lord Jamar laces a verse on this cut but fails to rejuvniate things. Question, why do y'all underground cats want to copycat the thug shit when you have your own style that had worked in the past? Especially when that Swizz shit is dead.
I'd rather flip back to hear the Real Live shit…I'm talking Real Live…K-Def and Larry-O…remember that?
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I'm not sure where these cats hail from, but from the accents I'm guessing somewhere from the South.
“Big Head” is a track dedicated to all the chicken heads and gold digga's, the ones that have that swoll up head due to the guys their sheisty ways. The two lyricists on the track have some clever rhymes, alright flow, but overall are pretty simlistic. The catchy track is produced by Druck Muse, and is appropriate for the humourous nature of the track.
“Love Music” again, has some nice production, but just doesn't fit the type of lyrcists that are featured. It would be more appropriate for some smooth cats, who can build a little more meaning into their rhymes. I really was vibing of the harp that held the track together, something a little different from the norm.
Not a bad single for a debut, but it would be best if the emcees involved brushed up a bit on their rhymes, putting in a little more thought and direction.
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Some singles hit hard, and others merely make a presence. This offering from Division X is unfortunately the latter. It's a collection of mediocre efforts from a crew that seems to have some potential.
The first track is "The Essence (Hip Hop Style) and brings a different if slightly monotonous beat, but the lyrics are mediocre at best. The levels also seem to be somewhat low on the vocals.
"The Mad Dog" is up next, with an even more boring beat showcasing Mad Dog, one of the members of the crew. The compilation rounds out with "Giant Steps (Check It Out), which doesn't much improve on what came before.
Don't get me wrong, this single isn't bad, it just doesn't stand out and make you want to play it again. With the amount of releases out there, a single needs to grab your attention, and this one doesn't succeed at that.
Toronto's burgeoning scene has a great amount of talent, both better known and those who have played the background more. With his new CD single - Kamau hopes to move from the latter group into the former.
Based on the quality of the track, he shouldn't have much difficulty. Bounca, known to TO heads as the bassist for Nefarius' live shows as well as appearances at various events around the city, provides a simple, well-layered track. The drums are clear and precise, and the melodic riff provides a nice counterpoint to Kamau's intelligent, creative lyrics.
One of the real strengths of this track is Kamau's ability to ride the beat well. This is not just a case of a tight beat and tight lyrics, but both are carefully interwoven. Obviously, these two artists care deeply about the music they're releasing.
The single is quite short, with just a radio edit and an instrumental, but it's promo only, so you can't buy it anyway. Keep your ears peeled though, and call your local radio station to request it, 'cause you definitely want to hear this track.
Be sure to check out TheCyberKrib interview with Kamau in the SESSIONS section.
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A new indie label out of Brooklyn, New York, Major League Ent. is blazing their singles around North America, garnering attention at literally all of the hip hop publications both online and off. The first artist being showcased, is Cash Brown, who blazed on the debut single "Last Man Standing" with some dirty ass production from up-and-comer Ayatolla.
The key to the success for this label thus far, is the their work in terms of talent co-ordination, the job of CEO Matt Marcus. By putting a stong team of talent together for each and every track, this proves to be a formula that's working to their advantage. Enlisting top underground producers, in combination with cameo appearances by established underground emcces, the Cash Brown singles have been a success.
This second single from Cash Brown, first off catches they eye just with the blatant and potentially "controversial" cover art with O.J. Simpson leaning against the font of the singles title "Double Homicide". A tactic that will definitely get some buzz generated, as well as the cover art seen and noticed, but could get them in some trouble down the line. In any case, what's hip hop without controversy...it's all good.
The A-Side "Double Homicide" featured none other than Dirty Dozen member Royce The 5'9, fellow emcee of Eminem, who's been tearing up the airwaves with his track "Boom" featuring DJ Premier. The Nick Wiz track was a bit disappointing to me, a little harsh on the ears, slightly repetitive. Lyrically, both emcees come off with good verses, but nothing to get amped on really. Anyone think Royce sounds like Beenie Segal, but on the next level lyrically?
The B-Side "Leave It Alone" is the catchy track on this single, brewed up by JEF of the Network Reps. The bubbling horns and vibes, give the track that happy feel that will definitely work on both radio and even in the more "progressive" night clubs. Cash is joined by P-Dap who I'm feeling, as well as those ol' school emcees DAS EFX. With some nice switch-ups and beat drop-outs, the production is variable enough to keep the listeners attention for the duration of the track.
Another tight single from Major League, and look out for the upcoming triple song 12" from Tribeca featuring the self-produced track "Oswald". Look for a review of that at the CyberKrib in the coming month.
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Another 12" release in the Music 4 All Cities series, this single matches up a couple stong singles, featuring Dr. Oop and Mykill Miers. Although I never peeped the full Music 4 All Cities compilation, this single pairs two artists that have their distinct style, giving the deejays some value in todays world of one song 12"s. What's up with that???
Dr. Oop, a new name to my ears, has a style that's very catchy, and can flow over the beats seamlessly. With a slight tinge of style from the past, Dr. Oop delivery reminds me of some classic ish, maybe along the lines of Leaders of The New School. On the "fun" tip, his lyrics are clever and humorous. Check "Twist of Lime Part 2" in the second audio box...dope stuff.
The B-Side features West Coast emcee Mykill Miers, who recently dropped a full LP. "Bring It On" is on that smooth out cali vibe, a very nice track with strong lyrics, where his voice complements the production perfectly. All the deejays would be best to pick this one up, especially for those mix shows, since all tracks have instrumentals, and would work well for freestyle sessions.
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Well, the Philly invasion continues, as more and more music from the Illadelph is becoming more widely known to urban listeners. While more attention is aimed toward artists such as Eve, Beenie, The OkayPlayer fam, and others, there is also a whole other breed of underground emcees bubbling in the city, including the roster of Arrakis Records.
Briz, are the current focus at the label right now, with a single out earlier this year on the b.b.r. Project Echelon 12" ("Spityn") and a this new single just released. They seem to be a group that really keeps their music to the streets, both in the grimy style of their flow, as well as the equally hard edged beats. This is raw hip hop at it's best.
"Cannons" is a low rumbling track blessed by Steve Geez, with cypher chant chorus, and raw ass lyrics featuring The Black Narcissist. The B-Side "Streetstages" is again, some bass heavy, murky "to the streets" hip hop, with well crafted lyrics by Brizmatic...the track that I'm feeling most on this single.
Looking for some clever, thought provoking and innovative hip hop? Keep your eyes peeled for labelmate Kenneth Masters, who has some dope music coming from Arrakis soon, but you can check him out right now at
MP3.com) and IUMA.com)
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One of Canada's most energetic and anticipated crews has finally landed some wax in DJ's hands in preparation for the release of their upcoming full length CD release coming this fall on New Jersey label Apollo Entertainment. Those Nefarius bastards, Collizhun and DJ Don D, along with violin protege Eugene Draw and bassist/songwriter Bounca (The Tough Dumplin Band), and Montreal's Butta Babees combine forces to give you a taste of what to expect from the debut album.
This EP begins with an already classic cut "Pondering", which was featured last year on the Tuff Dumplin' sampler tape, as well as performed on various mix shows around the T-Dot. With no qualms as to who they aim their lyrics at, Collizhun and Kwesro (R.I.P), take no mercy on everything they see wrong with the urban scene in Canada. It's nice to see the inclusion of this track on the single, which honours Kwesro, who passed away peacefully last April.
"Lei Lo", features the talents of artist-street musician, Eugene Draw, who's violin playing sets the backbone for this classically infuenced track. Soaring chords and accentuated pizzicato, set a great pace and feel, as Collizhun's boucy drum programming and energetic flow lay in the balance. Cuts courtesy none other than Don D.
Over to the Mount Real side of things, Nefarius joins The Butta Babees, who've been making a good deal of noise of recent. This track is a good display of the high energy that Collizhun is known for in this beats, with lines that only true Canehdian's would understand "...Akee and Banana is my norma routine, but when I'm in Montreal I eat bagels and poutine."
The flip has three instrumental cuts, "Perpetrators", "Street Jam Beat", and
"Just Came From Jamaica" which is similar to what the full album will feature, both lyrical and instrumental tracks, especially made for you aspiring emcees out there who want the hot beats.
All in all, a very solid 10"...yes...10" I said...haha! Bet ya haven't seen that in while. Look for the last few remaining LP's out there OR pick one up directly from TheCyberKrib for the low cost of $10. Anyone that's interested just hit me up at
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This track begins with a 70's soul sample. A female sings "Do you feel the way I feel?" If former Onyx man, Sticky Fingers, was feeling revolted during the recording of "Come On," our feelings are unambiguously the same. If one were to remove the thug bantering and firearm fodder, we would have a less than memorable instrumental. This track brings to mind mediocre DMX lyrics and gun toting, gangster posturing. If you are ever sweeping and happen to misplace the dust pan, you will have use for this 12".
VanCity's Social Deviantz have dropped a new joint in preparation for their upcoming "Bleaky Deky" LP. Now, first off, I have to give props for the quality presentation of this promo single. The CD cover art is simple, but slick, the CD itself looks equally slick, and the press release is presented on quality paper with clean layout and straight to the point writing. Something for you other upcoming artists to note.
Now, on to the content. "Minimal" is the showcased track on this maxi-single, which boasts catchy production by Junya, as guest spitter Shorty Reck (Shines N F-Roc) drops a solid verse with nice delivery. A-Train comes with an equally stong verse displaying some clever illiteration, however, as the song comes to a close, the track seems to disolve. Junya decides to pitch down the track for Fatbone's verse, which to me is detrimental to the track since it takes the high energy feel away from the track, especially with the slower and forced flow of Fatbone.
As minimal as this CD was meant to be, the inclusion of the other two tracks on this CD seems a bit half-cooked. "Lucky 5" coming in at just over 2 minutes, and "Molehill" at just over 1:30, are more a detriment to add to this release than anything. It appears to the listener that that the tracks weren't finished yet, with only one verse done for each, ending before the listener can really even sink their teeth into the track. This seems to compromise the quite nice production by Junya. This all comes back to the principle, that if it's not done 100%, don't do it at all. Wait till things are complete, then drop the music, especially when the potential for a good release is there. Now, I have to note that having been informed, that most of the LP consists of short tracks, thus as a total product, the short tracks may meld into one another more, creating a more complete feel to the shorter tracks. We'll see what happens when the full release drops.
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There's been alot of talk about this guy around the general music scene, probably more outside of the actual hardcore urban crowd, and more among the alternative listeners. MC Paul Barman is not your average rapper from the ghetto, no, he's a mid-20's Jewish cat, who's been talked about extensively due to his music recorded with none other than Prince Paul. He has recently signed with Matador, and this is the first 12" from him.
Now, you have to realize that this guy is more into the music for the fun of making hip hop, and being creative, as well as voicing his views and opinons, rather than wanting to be the next Puff or DMX. In any case, I'll let you check the tracks below and make your own decision.
"How Hard Is That", flips some classical, armageddon type ish, where Barman takes on a variation of Biggie's "Big Poppa" on the chourus, "...I like it when you call me Paul Barman", landing him somewhere between Weird Al and Eminem, and MC Serch, if that makes any sense. "Housemate Troubles" I'm actually sort feeling, since it's little less bizarre production wise, but still very original, and his lyrics aren't half bad, a good display of what he has to offer the hip hop world. All cuts handled by DJ A. Vee.
Like him or hate him, I don't really think he'd give a damn...
Check out more on MCPB at
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UK's production team of Julian Baker & Simon Gilbert create a solid 12" that should motivate cats to maintain vigilance for their full length, The Weight. This single much like the full length showcase talented U.S. mc's. "Hard Margin" sounds like nothing on the Black Star album - it has a reggae feel to it; however, there is certainly no drop off in performance. Change without deterioration. The B side showcases completely different production. No Love's quality beat features fabulous rhymes from F.T., who shows he can emerge from the mediocre shadows of Street Smartz. No reason to deter hip hop lovers from purchasing this 12".
Fresh of a tour with No Doubt, L.A.'s Black Eyed Peas are readying for the release of their sophomore LP "Bridging The Gaps", which drops August 22. The first 12" featured DJ Premier on "BEP Empire".
At first listen, "BEP Empire" didn't stand out as one of Primo's top shelf efforts, however, the more I hear it, the more I'm feelin' it. I still think that this collaboration could have resulted in a more hype track though. BEP keep it very simple on this single, maybe too simple...which is probably what bugs me about it. Due to the it's simple nature, I think more elaborate production could have strengthened the track as a whole, but in any case, it's still above average, just not outstanding.
The B-Side, "Get Original" features head man of Jurrassic 5, Chali 2na, who actually fits the track better than does BEP. Again, the production isn't amazing, and the hook I find a bit wearing after a few listens, I prefer the original reggae version of this hook. Just an average lead up to an album that I have high hopes for.
Do keep an eye out for another cut off the album called "Weekends" featuring Ming Xia from the Spooks. HOT SHIT INDEED! This is what I expect from the Peas. Peep a snippit of it at
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Regardless of my advice, you will have a difficult time getting this single. I'm under the impression that it is not for sale; glad I already got it :) . Anyway...
Craig Mack has stormed back to the hip hop scene with a vengeance. This is the fourth new track I've heard from him this year, and a new full length is allegedly in the works. "Fuck Yall Niggas" is definitely a reason to check out Funk Flav's new efforts. His white label production has been anything but mediocre. This track has addictive production. The verses aren't anything spectacular. Typical "hoe boastin', gun totin'" rhymes. However, I don't recall "Flavor in Your Ear" being all that lyrically complex, and I liked it - the remix too.
So check this one out; that is, if you can find it.
Next up from The Roots/Motive Records camp, is none other than nasty rhyme wrecker Dice Raw. This cat has been appearing on Roots cuts for years, as well as other underground joints, and everyone is waiting on the debut LP which is in the works as we speak.
The debut solo 12" pairs Dice up with Black Throught and Malik B., who has emerged out of the shadows to bless a verse on the new bouncy single "Thin Line (between raw and jiggy)". The track flips an ol' school hip hop break, pretty fast paced for Dice as compared to past works, but still a bit on the "rough" side as well. Nice to see that a hard edged emcee can take it back to the roots, while still keeping it current with a rawkus chanted hook. This is the kinda track I can see deejays flippin' at all the breaker festivals in the near future...a little something different for Roots listeners.
"Lava" rounds out the single, which I'm not feeling as much. It's pretty much the rough type ish that you'd expect from Dice. I've got a feeling that this is the type of track that will grow on me as I hear it more.
You can check out another track from Dice featuring Shauna Raw at
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Who is this guy Sensational? Well, once known as Torture, he ran with the Jungle Brothers for a bit, then in '95 came to ears of Bill Laswell who worked with him on recording his debut LP "Loaded With Power", and following that finished a sophomore release "Corner The Market". Now, this is definitely not your average head bop hip hop, and it's far from being cleanly recorded, I guess following the trend of using only a 4-track for his debut, and 8-track for the sophomore.
Now, for my tastes, I'm feelin' this guy a little, lyrically, but I can honestly say, I'm not feeling the production at all. Lyrically, he could actually be mistaken for Kool Keith, due to voice and delivery, although, I find he doesn't have the command over lyrics like Keith does.
"Party Jumpin'" had me waiting for a bassline groove to drop until I realized it wasn't going to happen, while "Livin' It Up"
It definitely sounds like there was no upgrading going on from the 8-track on this single, where the production has no dymanic qualities, the drums sounds are way below par, and in general it doesn't sound like anything to bother pressing on wax.
However, the low budget sound seems to be his unique quality here, so, if you're down for that ol' ghettoblaster recorded music, this ones for you.
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My car has rocked Gang Starr's "Militia" on many a day. I can appreciate Bumpy Knuckles in short bursts, but two singles apparently surpasses my threshold. All Star production from the Alchemist and Pete Rock make both sides of this 12" very speaker friendly. But any more than sixty seconds of Freddie Foxxx and I need an escape. It's not that Freddie can't flow, it's just that most of his rhymes sound the same. The true discernable difference between "Bumpy Knuckles Baby" and "Stock In The Game" is the production. One dimensional mc's don't impress me, no matter how many hall of fame producers.
This is the first occasion I've heard of these cats, and they have left a very good impression on me.
As a single that I picked up in NYC, I don't have any background info on this duo, but I can assure you that they are headed in the right direction having hooked up with Benni B and ABB Records in the Bay Area, who's most notable group are Dilated Peoples, as well as working various projects with Evidence, Defari, and other notables.
"The Difference" is a nice jazzy cut, with listener friendly flow, and clean and clear delivery, flipping a O.C. sample on the hook. "Yes Y'all", again, flips some funky horns and piano, again, very clean and tight, both lyrically and production wise. They have a sound that could be compared a bit to the cats coming out of the 7 Heads crew (J-Live, Unspoken Heard, Grap Luva, etc.)
Definitely a nice addition to anyone's collection, especially the cats doing mix shows or lounge nights. Nice tracks, as well as nice original instrumentals to flip.
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"I swear you be making up names sometimes" said my friend when I included Afu Ra in my list of dope mc's she never heard. The underground is most definitely familiar with Afu following three hot 12"'s in '99, and he brought those same skills to 2000.
"D & D Soundclash" is an extra tasty party-rocker. It has a definite reggae feel, which makes it even easier to shake that booty - if you're into booty shaking. But unlike many raggedy club anthems, the rhymes are far from background dribble and catch phrases. Afu and the artists formerly known as Smif-N-Wessun bring some rough, rugged verses over this finger lickin' beat.
Oh, there is a B side. Mic Stance's production is diametrically opposite to the a side, a lot of strange Star Wars laser noises and synthetic blasts on a not so funky beat. The verses aren't bad, but they don't earn any gold stars either.
Seeing as the A side is rather addictive and the Afu full length is know where to be seen, I would advise getting this single. I played it for Juvenile fans and they said : "This is phat. Who is this? Afu who?"
Well, the Mountain Brothers are back in a slightly abreviated form, as Styles has taken on a solo venture, under the title Styles Infinite. Regardless of the entity, Styles comes off on this 12", along with great production, all touched up and sounding nice courtesy of Chops, who as always was on the boards handling the mixing and mastering duties. And don't worry, talked to Styles a while back, and this is no means a departure from the MB's, just a side project.
"Fresh Air" has that good ol' boom bap sound to it, with nice full bass, clean heavy kicks, and clear highs, courtesy of Mister Jason. This I'm sure will be a favourite among emcees for use as the "freestyle beat" keeping heads nodding for days. Styles keeps up his intelligent, yet humour tinted bragadoccio rhyming, and fits the production perfectly. A bonus as well, with Roli Rho of Fifth Platoon laying down the cuts on the chorus.
Fellow MB, Chops is on the production tip on "Aquarian Mind", leaving his distinct "live" production sound with the listener. As a producer who applies alot of live insturmentation to his tracks, you're sure to hear some original type shit from him, rarely a sample used, unless it's redone live. Styles again, keeps to his usual style, which is cool with me cause I like it, and the good chemistry between him and the producer.
A solid 12"...pick it up, or if you can't find it, contact me at
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My friend from CALI just asked me what I thought of Foxy Brown, Eve and the other female mc's. Repugnant. Vile. Nauseating. Prime examples of why I no longer watch music videos. Friend then asked which females I thought were nice. Along with Bahamadia and Jane Doe, Makeeba Mooncycle is evidence that the underground has hordes of male and female marvels.
Makeeba is label mate to Ohio's Lone Catalysts. If you heard "Paperchase" or "Due Process", all I need say is the production is just as good - if not better - and J Sands and J Rawls guest on "Food For Thought". This song feels excellent; like being in a warm bed with a warm body on a snowy Saturday... life and this song don't get much better. "Judgment Day" provides zero drop off in quality. Fabulous production 1again! Exquisite lyrics give you multitudes of reasons to keep this track in heavy rotation. And NEITHER of these are the best track on the 12".
That would be "High Plains Drifter". Make space on yo' mix tape. I got a brand new pair of speakers and this track took their virginity in a bed thumping way! This beat is a definite departure from previous Lone Catalysts' efforts, but it is phenomenal.
Buy 3 copies of this 12". Two for you, and one to send to Foxy, Kim or any other dilapidated mc - male or female.
J. Sands returns on the solo tip with this new 12", familiar to most already as one half of the duo Lone Catylists. Beautiful production and solid rhymes by J. makes this one of the stronger releases currently out. Due to this being a test pressing of the 12", I'm not sure who handled production, although I can make an educated guess that Grap Luva blessed the P.S.A. cut, a 7Heads affiliate. Mellow, bass heavy beats, light guitar chords and catchy grooves keep the head nodding even after the track ends. If you can find this at your local record shop, pick it up. If not, order it from your favorite online bodega. Take a listen below to samples.
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This brother needs a full length. He's dropping hot singles weekly and is popping up on projects world wide - the Superrappin' series and the Creators new full length. It seems he has hot verses to go around because his singles are far from disappointing.
When an mc brings consistent skill to a microphone, he can expect big name producers to beckon. Buckwild and Reflection Eternal's Hi-tek bless Sensei on both sides. A trademark of Rawkus producers seems to be making innovative, first-rate tracks that DO NOT over power the mc; "Got Dat?" evidences this fact. A mellow track that can definitely start your head in pendulum motion. Sensei spits some braggadocio b-boy rhymes - not his A material. Had the verses been better this track would have been phenomenal - this a beat that needs to be ripped from beginning to end. As it is... I quote All Natural: "It's just okay" ("It's Okay" can be heard on All Natural's No Additives, No Preservatives; I highly recommend it).
Buckwild's bangin b side! Live Sh*t's production is outstanding - the rhymes are hot too. The rhythm guitar is vicious, and the way it alternates with the mellow background flute is extra effective. Sensei, Diamond, Pacewon and Big Kwam thrash this track; weak rhymes do not find there way here. My only knock on this track is that D.I.T.C. man Diamond was only on the hook - they could have given him a few seconds of mic time on this phat track.
Easy verdict. Go get it now. And if you aren't disrupting the neighbors you are not playing this track loud enough.
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Native Tongue affiliates the Aboriginals have dropped a fresh new 12", re-emerging from a few years hiatus. Logic and Obsess bust back on the scene with Shawn J. Period on the boeards, supplying a gritty analog backdrop for this listener friendly duo on "Number Theory 1-2." The flip "Renaissance" produced by Logic, an equally stong cut, boasts a catchy hook by an unmentioned female emcee (test press at least) and plenty'o'bass. Both tracks exhibit this duos intelligent rhymes, while maintaining a clear and simple flow. Renaissance I espeically liked lyrically for it's mention of cultural diversity in today's hip hop world, as well as the revitalization of the art. A direct hit for Aboriginals!
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During my brief return to slavery - working at a record store - I snagged a few goodies with master's blessings - and his discount. Sensei was one of them. I actually purchased it begrudgingly. I had planned to purchase Cali Agents' "The Good Life," but a civilian snatched the only copy. Little did I know I would find great satisfaction in Sensei.
P Original constructs three extraordinary beats that erupt from the speakers. Keep It Live's intoxicating guitar licks keep my needles on this 12" frequently. Sensei delivers solid verses, more than worthy of the spectacular track on which they are presented.
Best verse I've heard from El is on "Brainwash". If you saw the 70's flick, Car Wash, you will appreciate this track on multiple levels. One of the best uses of non-music sampling I've heard. Sensei lets the platinum selling, so called "talented artists" know that they can do for him "the same thing you doing for everybody else... NOTHING!"
After two knockout songs, Sensei completes this 12" with "Under Pressure". Not quite as spectacular as the A side jewels, but certainly not bad. Consistently appealing production and tight verses 1again. But being 3rd to "Keep It Live" and "Brainwash" is like asking Master P to follow Mos Def and Pharoahe Monch in a freestyle battle... it just ain't fair .
I obtained the Cali Agents 12" about a week later - from an alternate source. Of the two I play El The Sensei's single much more often. Rasco and Planet Asia's single isn't bad; Sensei's is just that good.
1st let me get in my shot at Bill Cosby. The Fat Albert creator expressed the opinion that hip hop artists are ignorant of and should learn more about real music - jazz. I will simply respond by saying that Mos Def, DJ Spinna and Rawkus Records teamed up with Blue Note recording artists Ronny Jordan to form a beautiful song.
Mos kicks a mellow flow to open up this track - reminiscent of the Mary J. Blige "Beautiful" (Remix). Spinna concocts a tasty beat that your grandmother may enjoy - sounds like something that could have been on the Heavy Beats LP. Jazz man Ronny Jordan adds some sweet sounds that provide immediate stress relief. Thankfully, this song is approximately seven minutes; it is a supreme pleasure every time I hear it. Pick this 12" up post haste. Then mail old Bill the Nuthouse "Luv Supreme" single and the first Black Moon album.
D.I.T.C. continues to drop albums by the dozen; however, this is not necessarily a good thing. At times it seems the crew just does not expend the energy to create product equal to their potential. Half this 12" exemplifies this trend.
I never liked the original "Thick", the beat was not so hot, and the verses were not so nice. Thus, to purchase it, I was not so pressed. So Diggin In grabbed a single that was average to begin with, left the rhymes in tact and added a - dare I say - "jiggy" beat. Whoopee.
The B side is a clear example of why fans should always have high expectations of D.I.T.C. Diamond and the late Big L drop furious verses over a speaker smashing beat. The "Get Yours (Remix)" is different from the original in production only - thank goodness. The original beat wasn't horrible, but it was certainly less than spectacular. The remix production more than made up for the lackluster earlier effort. Easy mixtape pick.
Diggin In fans should certainly own this single. Average DJ's and hip hop fans... you guys should own it too. Big L was a fabulous artist, and more people should own his material.
This Toronto duo keep things ol' school on this 12", with Fase on the MPC and ABS handling the vocal antics. Both cuts are backed by "boom bap" production, with ABS keeping things clean and fun with his classic style flow. "The Vinyl Frontier" takes an interstellar approach in its use of spacey samples and astronaut voice snippits, with a bangin' track supporting. I'd categorize these cats in the hip hop sub-genre including others such as Jurassic 5 and People Under The Stairs, simple and clear rhymes over stong beats. Having witnessed them live, they also have a great live show, as well as Fase being a popular underground DJ around the T Dot spinning breaks and good ol' hip hop. Contact Aaron Keele at Tune Up (416) 561-8863 for info on this record.
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This track comes off the soundtrack to Eddie Murphy's return in the Klumps (Nutty Prof. II), where again a full Def Jam/Def Soul roster is showcased, some olf, some new. As we're accustomed to, the lead 12" features the labels heavyweight Jay-Z, with so called protege Memph Bleek and mono-tone Amil. Timbaland is back on the boards, again, hooking up Jay with another club blazer, that starts off sounding alot like Aalliyah's recent smash "Try Again", but switches up soon after into some bouncy ish that's sure to please club goers and the BET crowd. The average lyrical party joint, nothing more, nothing less.
Ummmm... where is "Voicetress"? For those who don't have hip hop hook ups, "Voicetress" was the 1st single leaked from De La's new project. I heard it last September; and the drooling began. But there are only two tracks on this 12"... and "Voicetress" ain't one of 'em (rats!).
What is here is a track that ain't "Voicetress" that I don't particularly like. I have become quite leery of tracks using non-words for titles; I've had my yearly fill of "Whoa's" and "Ha's" and "Uh Huh's". Sadly, this song confirmed my fears. I shall quote an alternate review of this track. "...it has a commercially appealing feel to it." "A commercially appealing feel" is a vague concept for me. I will say that recent commercial appeal - which has supported the likes of Big Tymers, 504 Boyz, and Eminem - has severely questionable taste.
B side salvation. "Foolin" is vintage hip hop from the daisy crew. Pulverizing snare kicks with some smooth production will keep you in whiplash mode. Plugs uno, dos, and tres show why most mc's are "some stick ball niggas, we the world series!"
Conflicted? Me too. Should you buy this single? I did. I mean come on; this is the return of De La Soul. The group who gave us "Pot Holes in My Lawn," "Me, Myself, and I," and Buhloone Mind State. Support these brothers. Just skip the a side - I do.
A new group to my ears, Maspyke brings it to the tables on this new 12" with both solid production and tight flow. "The Gong Show" flips a Native Tongues feel, with horn blasts over a bouncy intoxicating bassline. This emcee pair have great presence on the mic with smooth delivery on both sides of the coin. "Far East Politics" flips a more Primoesque steelo with Erykah asking if "y'all feel it", over a triple kick/snare beat. This duo falls a bit into the Group Home syndrome, where one emcee is noticably stronger than the other, but their voice and flow complement one another.
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This lead-up single to the upcoming "Unbound" project on Ground Control, an album dedicated to raise the level of consciousness in today's hip hop listener, bringing the return of political hip hop. What better person to spearhead the LP than Talib Kweli, accompanied by his DJ and producer Hi-Tek, on a track dedicated to the preservation of learning in hip hop as well as the culture surrounding the music. Talib's aim seems to be the expression that hip hop artists can be as informative and accurate about social and political issues as any man standing on the corner preaching the words. This is most likely brought on by the criticism some "experts" have about hip hop that the topics are either not covered properly, or not covered at all. All this over an infectious Hi-Tek beat that keeps the head nodding all the way through. The Unbound compilation will feature a gang of respected emcee's dropping science including Chuck D, Black Thought, Pharoah Monch, Aceyalone, Dead Prez, and Saul Williams. Also, check out Kweli's "Hip Hop For Respect" compilation on Rawkus, dedicated to Amadou Diallo who was shot dead by five police officers in New York last year.
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A new 12" from Masterminds upcoming LP "Underground Railroad" features an all-star line-up of NY based emcee's, where all drop solid to outstanding verses, over a track that reminds me of Mass Influences "Clown Theory" from a few years back. This high paced track is witness to some outstanding verses by El-P and J-Live, as well as some solid lyrics from the Masterminds. This is a promising sign for a group who has consistently dropped quality material, and now part of Nu Gruv Alliance, they should get the added exposure they've needed. Check out the full LP review coming soon at TheCyberKrib.
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This second single from up and coming underground emcee Cash Brown is another collaboration with Guesswhyld, with Matt Fingaz handling the coordination for the single. As with many Guesswhyld projects, we're treated with some tight guest appearances and solid production. The guests come out on "Clubber Lang" which features some solid cameo verses, especially from Ruck of Heltah Skelthah, over a flute filled ol' school influenced cut courtesy of 8 Off Agallah. The flip is a bangin' cut, "Last Man Standing" produced by Ayatolla (Ms. Fat Booty, and others), which flips an 70's sounding dirty soul sample, with a snippit of Meth in Belly on the intro. Cash Brown rips it solo, in a track that reminds me of some raw Sauce Money butta'. Cash's delivery is similar to Sauce, raspy low voice and all, but he stands on his own lyrically on this track. All I can knock on the track is a lack of proper mixing on the chorus where the sample drops are way to loud in comparison to the track. Hopefully the wax will be better mixed.
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At first listen, I swore this track was Primo, with even the lead emcee's delivery resembling Lil' Dap of Group Home. However, after further listen, I realized this was one blazin' track from the west coast featuring some definitely gifted lyricists. Zion I are one of the most talked about groups in the west, as is Planet Asia on the solo tip, who has garnered much respect along side his "Cali Agent" Rasco (see upcoming Cali Agents REVIEW). This cut, the debut 12" to Zion I's forthcoming LP, concentrates on the topic of lyrical excellence in todays diluted hip hop world. Check for a review of Zion I's full LP in our REVIEWS section...coming soon.
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The classic South Park sound returns on this next 12" from PA feat. Suave House's Eightball. Thi cut took me back to Outkast's Southernplayalistic days, with a nicely produced track. With production handled by Craig Love (C'Amore Music), Sundown is full of overlapping sounds, with that smooth Southern feel that Organized Noise pioneered. Guitar flute and ambient effects add a really nice vibe. Yet another impressive single from PA, who are definitely one of the many slept on groups out right now. Check out their full LP, "Sexxdrugzmoneyviolence: My Life, Your Entertainment" coming soon on Dreamworks Records. Check our COMING... section for the release date.
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If you've yet to hear this Chicago based rap purest, you're missing out. As a past winner of the Rap Olympics and Scribble Jam over lyricists Aceyalone, Ras Kass, and Eminem, Juice does not hold back his passion for this technical art. He dedicates the track to the underground, establishing that his love for the art outweighs the need to get signed and paid. All this over a mellow, piano laced track, well complementing the emotion displayed by this true emcee. This is one the most sincere hip hop tracks I've heard to date, and I look forward to hearing more from this upcoming battle emcee.
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Van City's Rascalz collaborate with JuJu and Psycho Les of The Beatnuts on this next 12" from their "Global Warning" LP. Psycho Les cooks up a funk heavy cut on "Can't Relate", where these four emcees trade rhymes with relative ease. Their flows complement one another resulting in a nice cut. "On The Run" has the Alchemist blessing us with a nice violin sample and head bop beat, with some ill cuts on the side. Two solid tracks from Canada's Red 1, Misfit and Kemo.
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This lead off 12" to the upcoming Blunt Recordings "Next Up...Rap's New Generation" brings us X to the Z's protege Montage. In the words of Funk Flex, this track is some "ghetto butta"...DJ Rectangle laces Montage with a real smooth flowing track, nice full bass line, accompanied with layered strings. Montage flows just as smoothly as his track, exhibiting above average mic skills, showing that he can definitely flow with the big dawgs. Xzibit flips the hook with the ever present confidence we're accustomed to, showing love for the new jack who will surely garner industry respect for this performance. A must for all DJ's, look out for the release of the "Next Up..." compilation later this month, which also features the pairings of Q-Tip/Consequence, Royal Flush/Da Wastlanz, Memphis Bleek/Da Ranjaz, and more. We'll see what sort of A&R's these big label artists can prove to be.
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This maxi-single introduces Surpass Flavor from an indie label that covers all aspects of the urban/electronic scene from electronic stylings to drum'n'bass, trip hop to hip hop. In general this group is pure hip hop lyically, with beats that blend hip hop structure with grooves and sounds that are more electronically based. "Everyone Knows" is proof that this cat has mic skills dropping lines like "emcees imitation isn't flattery, you may be energized but you have corrosion on your battery" and "flowing line an ocean I have no hook in my gills, and throwin' worms in the water won't do nuthin' but kill." Noel Z hooks up the track, as well as all other beats on the single. I look forward to hearing more from this group in the future. The only suggestion would to to vary the production styles by bringing in outside producers to the LP.
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The man from VA has returned with his second 12" on Eastern Conference/Rawkus. As expected, he comes out blazin' on "Ghost Writer" directing his rhymes toward all the emcee's he's done ghost writing for. This is a fact that most emcee's would not want to admit, and thanks to Skillz editing out all the artists names involved, they may be kept secret to the masses. Fellow D.C. producer Timbaland blesses Skillz with an ill bass heavy, rolling joint on "Together" Skillz." Skillz drops some battle rhymes on this cut, all revolving around the title of the song. "One, Two Theory" is an average cut, more just a bonus cut to this nice new performance from Mad Skillz. So you all know, just look for the name D. Lewis on your favorite CD for Mad Skillz work!
Talib Kweli, a man to keep an eye open for on various joints being dropped over the next few months, has come with the debut to his upcoming LP release of Reflection Eternal with partner DJ Hi-Tek. The A-side "Express" is a mellow, head bop cut where Kweli reassumes his prowess as a true emcee with clever and intelligent rhymes. Hi-Tek drops a classical influenced cut on "Some Kind Of Wonderful", heavy on the low end, while Kweli displaying his sensible and effective lyrics. Kweli makes you almost want to laugh as he makes it so clear how hip hop artists are being pimped by the music industry for their own benefit. He also depicts how easily people are pulled into these fabricated "high life" that is depicted by these big willie artists. Look for Kweli & Hi-Tek on the upcoming Reflection Eternal LP, and the "Unbound Project: Volume 1', as well as on the SpitKicker concert tour which will be rolling through North America this summer.
Another instalment of Ubiquity's limited edition vinyl series featuring Nobody and Mumbles on production, with 2Mex, Hymnal and Longevity on the lyrical tip. Nobody and 2Mex (Visioinaries) lead with "Afternoon Focus", an upbeat boom bap joint with a comples rhyme style that in reality is quite simplistic. 2Mex expresses his love for hip hop in its purest and undiluted form; "Sunshine will always overpower the darkness..." Kutmaster Kurt and DJ E.S.P. handle the cuts on this b-boy butta. Mumbles and Cut Chemist bless the flip with up and coming emcees Hymnal and Longevity of the Dark Leaf project. This track is more along the lines of what I've categorized in the past as spacey West Coast undergound hip hop. Dark Leaf flip abstract, spoken word type lyrics over an equally obscure backdrop of sound. An example of yet another sub-genre of hip hop that is emerging mainly from the West Coast, dark yet progressive. All around a nice 12" displaying two facets of the ever growing and diversifying undergound hip hop scene.
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Montreal's Grandmaster Garner returns as Gundei (derived from Ghandi) to educate the listeners. The land track "Propagundei" drops conscious lyrics accompanied by a West Indian influenced hook, over an average track spiced up with a live trombone. "Dat Shit" is the rough edge cut of this release, where Gundei is joined by 01Etranji and Sergio Bijimine in a French/English (joual) collaboration. Nice to see the uniting of the French and English scene of Montreal. "Good Times" is another cross-over R&B type cut, on that has become an unneeded compromise to quality underground artists. Look out for producer Haig V. in the future, who has big potential, already having contributed to such artists as Muzion, BranVan 3000, DJ Vadim, Kid Koala and Amon Tobin. Gundei's full LP "Mein Kampt" is due out sometime this summer.
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Team Demolition are rolling deep to show that VA holds more than just Timbaland, Mad Skillz and SupaFriendz crew. Consisting of members Lazarus, Jady Experience, Optical, DJ Odessa Cashmere, Zechariah Wise, E-Ball and Orson Faust, Team Demolition is debuting off their own indie label Depth Charge with high hopes for the future. This 12" is a "lead-in" to their upcoming LP "Demolition Derby - The Wreckoning" coming this summer. "Teamwork" is nicely produced, reminiscent of Mic Germonimo's "Men vs. Many", with solid lyrics which unfortunately weren't mixed very well, which is my only criticizm of the single. Odessa Cashmere displays some skills on the hook. The wide range of Delivery and voices makes it an interesting listen. "Uhip2it?" is a dope little cut, as noted, inspired by Ultramagnetic MC's. Dope delivery and clever production make this a winning track, and better fits this groups style than the A-Side does. All around, a solid 12" that's been making some noise on the Gavin Charts, as well as support from across the U.S. Odessa has a 5 minute mega mix showcasing his skills and DJ Dial Tone The Nemisis Enforcer. Look for coverage of the upcoming LP at TheCyberKrib.
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The flava emcee is back with a new whitle label 12" produced by Mark The 45 King. Craig Mack laces us with his classic, clever rhymes and attitude on "Wooden Horse" over a classic 45 King bouncey beat complete with Frank Sinatra sample on the hook. Mack wraps it up in his opening rhymes "I came to rock, I came to move the crowd, I came to scream it out loud..." and shows he's still on point with the rhyme "Julia Child, nigga cook MC's, Craig Mack baby 1000 degrees..." The B-Side is a remake of EPMD's classic "Please Listen To My Demo" where Mack drops some genuine lyrics about his past. He definitely does justice to the borrowed track and concept, showing himself as a true storyteller.
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E Double is back for a second session from his upcoming "Def Squad Presents..." LP. This time around Slick Rick joins him in the mix over a beat sounding alot like the previous 12" with Ja Rule, however the signature E Doub sound works nicely in this combo. The track has a very analog feel to it, simple, yet with a catchy head bop beat and interlaced with some subtle samples. I don't know if it's just me, but does anyone hear a flushing toilet in the background? Erick and Ricky drop some clever rhymes including the hook where they take an ol' school approach using the letters of their name to describe features about themselves. "E R, ravishing I impress, C courageous or careless, K for the Kango that I got, that I rock every day why, why not."
This 12" is one of two new releases by Major Leagur Ent. lead artist Cash Brown. With Matt Fingaz leading up this release as project coordinator, this record is reminiscent of past Guesswhyld Productions. The combination of strong underground producers, with notable emcee cameos, give promise to a strong release. "Pay Me" is a Nick Wiz concoction with Cash Brown and P Dap trading verses on a pretty typical New York underground cut that actually gets better after subsequent listens. This one's all about the bottom line in todays business world, making dem dollas, which is an appropriate topic for emcee "Cash" Brown. The flip "True Lies" is a Domingo production, who's done extensive work in the past for KRS-One, Channel Live, and Hurricane G. to name a few. Although not one of his outstanding works, it does have that latin influence to it whcih is listener friendly, eventhough the track is a bit repetitive. Lyrically tight though, Mike Zoot and Precious Paris bless the mic with solid verses. An all around sonsistent single, a nice debut from Cash Brown.
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This track deserves a special category as seem above...no usually in our listing...southern style...haha. As far as felling any past work from Trick Daddy, Trina and crew I have to say nothing really caught my ear. However, the combo that tode "you don't know naan" comes off over a funky ass synth horn track, with signature bouncy beat structure. Lyrically it's the standard material talk made enjoyable with the sarcasm and reality of the attitude given by both sexes toward one another. A fun track especially to get the crowd moving in the club. Something fresh from the South in the drawn out Cash Money fad.
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The lead Volume of Grand Royal's "The Blow Up Factor" features a solid line up of producers lacing remixes for Brooklyn's funky white boys. Since I haven't checked out the "Sounds of Science" LP, I'm not sure which of these remixes were included on the LP, but in my mind they are all pretty nice. Adam Horovitz cooks up a bangin' remix of "Negotiation Limerick File", while Handsome Boy Modeling School's Prince Paul and The Automator supply their own bottom heavy version. Colleone/Webb supply a smoothed out version of "Intergalactic", a nice change from the original which I have heard way to many times now. The Prunes drop a remix of "Putting Shame In Your Game" w/ Biz Markie Scratch that has an electronic southern booty feel to it, again another in your face banger. Finally Kut Master Kurt gives a Dilated Peoples steez to "Body Movin'." All in all, a very solid 12" for all, especially you Beastie's fans.
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Volume 2 of Grand Royal's "The Blow Up Factor" introduces DJ Strictnine and Paranorm on a very trippy project. "Mic Reaction" is on the trip hop tip, with constant changes in sampling, as well as a flip in beat half way through the track. With equally abstract rhymes, the track is one catered to the true underground, open minded cats. Flow and delivery are cool, nothing that sticks in the brain, but appropriate for this type of hip hop. The other tracks on this extended 12" are equally mellow and tripped out. Fans of the Axiom compilations would probably dig this volume of the Blow Up Factor.
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This, the third volume in "The Blow Up Factor" showcases pure, uncut underground hip hop at it's best. Mr. Lif pronounced "Lif" as in "SpLif" has a flow and voice reminiscent of Psycho Les of The Beatnuts, and equally bizarre rhymes. In "Farmhand" Lif laces the track with clever, yet "out there" lyrics, sort of a mix between Kool Keith and The Beatnuts. This all over a honky-tonk sounding track complete with banjo and killer rolling snare. "Settle The Score" is another nicely produced track, with heavy boom bap beat and electric guitar loop. Fakts handled the cuts on both tracks dropping some nice samples, providing a tight hook for each track.
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Irv Gotti's Murderers have arrived with the official 12" for their debut LP "The Murderers" Now, first off, understand that this whole LP is really based on it's title, and everything else related to that mind state. Thus, lyrically, there is very little in terms of meaningful, conscious rhymes. "Vita, Vita, Vita" showcases Def Jam's next estrogen full emcee, following Foxy Brown. Vita drops the typical, proud to be a "bitch" rhymes, all about jems, Lex's and the almighty dollar. Her flow has potential, but lyrically, she's no Apani B or Jean Grey. The beat itself is the usual bouncy ish, but with a rhodes on the chorus, and heavy bass line it had me nodding. "Shit Gets Ugly" features Ja Rule, Black Child, Tah Murdah and Vita over an ill grimey, full sounding track. This is the kinda joint that drops in the club, and the thugs go wild. Lyrically, Ja, Tah and Black are pretty much alike, although, Black Child I think has more potential, with a less coarse voice. Ja Rule does bust off on everyone's favorite diss victim 50 Cent, who has been cutting on Ja Rule since he arrived on the scene. Lines like "I'm a nigga so you know you can't trust me" on the hook, and "murda those niggas, murda them now!" aren't what you would call "positive" images for the culture, but in these days of Ruff Ryders performances on BET, with a crowd of teens chanting "hell ya we bust our guns" and "f*c* 'em till they cum", where is the line between hype and simply negative drawn?
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Blood of Abraham are a new group hailing from the west coast, picked up by online heavyweight Atomic Pop. This 12" is from their forthcoming LP "eyedollartree" (see REVIEWS section). "Velvet Glove Iron Fist" is a good display of this groups strong spiritual basis, explaining how society is teased by material possessions into a false sense of security. They are eventually controlled by this corporate entity "spiritually, mentally, and physically." "99cent Lighter" features Will.i.am of the Black Eyed Peas who actually contributed to part of the production on the LP. This track displays more of the alternative side of Blood of Abraham, while still keeping to their conscious, yet cautionary subject matter. To hear more from Blood of Abraham, check out the full LP review coming in our REVIEWS section.
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Residing in the heart of Los Angeles, People Under The Stairs (PUTS) are true beat junkies that spend many hour searching for the perfect beat. Thes One and Double K bless heads with a bowl full of breaks on this 12", a lead up to their sophomore LP "Question In the Form of An Answer" due out in the fall of 2000. "Youth Explosion" is a nice upbeat joint, lyrically on point, and listener friendly. Their simple, but to the point delivery is nothing but dope, a nice mix of old school delivery, with modern subject matter. Perfectly timed and appropriately used samples round out this great track. "Big Daddy Brown" is a funky, fun track leading up to the highlight of this 12". "Code Check" flexes a tight bosa nova break, giving that latin vibe, along side a nice acoustic guitar sample that switches up every 16 bars of so. The best part is the crazy low end that actually clipped my high end speakers at first listen. Again, the simple, old school type lyrics complement the sample-heavy production. A definite must for any hip hop fans record collection.
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This debut single on Double Up Records for Checkmate is one of a number of new releases hailing from the Vancouver (Van City) area. It has actually been around since the summer, but I just had a chance to check it recently, and as Canadian content wanted to get it up in the review section. This Vancouver radio personality and member of Canada's east/west "Swap Dogs" crew, Checkmate has appeared on the past two Rascalz albums, and is now doing things on his own. "The Longshot" was written, produced and performed by Checkmate, an alright performance. Production is average, which speaks the same for him lyrically on this one. "The Devil vs. The Maker" teams him up with Kemo (Rascalz DJ/Producer), flippin' the same sample used by Kook G Rap on "Take 'Em To War." Again, an alright performance, but just lacks any presence on the mic. As well, living up to a track used by Kool G. Rap is a challenge in itself. "Highlife" featuring Concise on a track that melds a little more with Checkmates flow, however the "fast women, fast cars, mad guns" talk seems a little out of place for a Vancouver emcee. Checkmate is an emcee with talent and potential, but it needs to be used in a final product that's more complete, as well as less "macho" and more mind stimulating. An emcee to watch in the future.
The females once linked loosely to Wu-Tang have emerged with their debut single. Having been violated through the Sprite "5 Deadly Venoms" ad campaign, these females are a little heated. "Venom Everywhere" is targeted at this whole issue, and the emcees involved (Eve, Mia X, Angie Martinez, etc.) and come off with an alright performance, but what bothered me about this 12" is the lack of quality in mixing. Production wise the track is cool, but it sounds like it missed mastering. "Party Chedda" flips a sample of Loinel Richies "All Night Long" which this time is recorded better. The Venoms tell the story of a robbery, singing their take on Richies chorus as the hook. Another female thug record, which I'm diggin' the production on, but lyrically average. This would work as one of those "ghetto butta" club cuts.
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This record, part of a series of limited edition releases from Ubiquity, incorporates a nice mix of grooves, from the house feel of "Pull Out" by Skyjuice, to the experimental hip hop of "Citizens", and finishing off with a jazz cut import from France "US" by Byard Lancaster. The hip hop facet "Citizens" features Lodge Infinite in an experimental track commenting on our role as citizens in the universe. While not an outstanding track, it is a nice change to hear in our sometimes blahzay world of hip hop. "Us" is a nice, funky, uplifting jazz cut that rounds out the 12" nicely. A unique type of record, but one that works well in incorporating three related, but also different styles of music.
Killah Priest has returned to drop knowledge on the true headz in hip hop. This debut single from his upcoming LP "A View From Masada" uses the story of Solomon as a basis with a modern day twist. He uses a comparison to todays youth who are setting their own fate through a lack of education and desire for the thug life. Furthur explaining that if continued, these actions will ultimately mark the downfall of their culture. All this over flamenco style guitar and a RZAesque sounding synth. A solid lead single to the forthcoming album.
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If
you've yet to be blessed with this track, best turn on your local college
radio mix show and check it out. Classic Common + classic Premier = a gem
song. Com flips lyrics on the realness of hip hop and its impact on
individuals, both negative and positive. It amazes me to see how he's
developed over the years, maturing into a truly genuine and honest emcee. I
just wish cats would take the time to listen, absorb, and learn from a
positve role model like this. This joint even has the sing-sung hook that
all you party people will feel.
"I start thinking how many souls hip
hop effected,
how many dead folks this art resurrected,
how many
nations this culture connected,
who am I to judge ones
perspective"
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Taken from the soundtrack to Denzel Washington's new movie "The Hurricane", this cut is a hip hop remake to Bob Dylan's original protest song about Ruben "Hurricane" Carter. This all-star line-up of emcees tells the story of Ruben Carter, the famous boxer who was jailed for a crime he never committed. The hook is blessed by Phillies own Jazzyfatnastees, completing a track that definitely educates the listener. Pick up the soundtrack which also features the Jazzy's on a solo track not included on their butta' LP.
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Well...it's been a while since a Cool J joint hit on the underground, but "Ill Bomb" has been blazin' on turntables these days. This track is grimy, with LL coming more rough than usual, with lyrics that top his past performances of recent. Unfortunately, I have the promo of this track featured on Funkmaster Flex's "Live at The Tunnel", but I'm guessing that this banger was cooked up by DJ Scratch.
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This 12" off of Quebec's Muzion's debut LP on BMG's Quebec Division has been the anthem in the Montreal are so I've heard. This french crew combines both french and english on their album, as shown on this single. Production is interesting combining a latin feeling track, with the folk sound native to Quebecois, as well as an African feel to it. This makes sense due to the mix of cultures in Montreal, Hatian, African and Francophone. Appropriately names the song is about the uniting of cultures, and how life if made easier through the support of others.
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This crew that I believe hails from Detroit's originally, presenting a nice mini-EP of tracks on the single. Jazzy production combined with nice delivery, and conscious lyrics makes this a must for any DJ's collection. "New Hip Hop" states their place in the hip hop game, coming with intelligent lyrics and positive messages. "Dat Fast Food Joint" feeds delicious hip hop to the listener, and beef to their competition. The highlight track of this release is "Glen Close" which in its heavy jazz influence with clever alliteration, tells a story of a man's dilemma with a "fatal attraction." Watch out for these cats, cause they've got all the aspect on lock.
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Whoa...whoa...whoa. Lord Have Mercy flippin' it Southern style on the classical tip...that's right! This bouncy club jewel features the unmistakable deep monotone of this Flipmode Squad member, over a ghetto concerto and cone busting bottom end. Just call up our reviews editor Dread and he'll be sure to bump this favorite of his. A nice taste of Lord Have Mercy until his upcoming album drops on Warner later this year. You can find this one on DJ Skribble's "Traffic Jams 2000"
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The battle returns as Canibus hits us with the lead 12" to his sophomore LP. This time around he's sans Wyclef, who he obviously has no regrets leaving. Ty Fyffe cooks up an apocalyptic track, with Canibus redeeming himself to the underground crowd. In a recent interview Canibus stated that he wants to do the LP right on his own this time around, rather than depending on others for success. Look for some nice emcee's to cameo on this upcoming album.
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The Def Squad returns, with E Double solo this time featuring Ja Rule. This cut is an average Erick Sermon production, nothing out of the ordinary, but a nice club rocker and head nodder. Lyrically average as well, I hope to see a bit more effort in diversifying beats on the next LP.
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PA returns to take it to the dirty south, and I mean Dirty South. "Dope Stories" combines some of the best southern lyricists with a sort of out of place rhyme by Noreaga, but nonetheless this track bumps. The simple piano loop over a bouncy track complements these emcees perfectly. However, it's the B-side, "You Got We Got" that I'm really feelin' with it's call and answer hook, and real "country" sounding production.
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This single marks another round of releases from Rawkus. These were released around Christmas/New Year's but in the holiday transfer, they didn't get as much attention as they should have from what I see, but maybe that's just me. Rip Shop is a nice addition to the underground powerhouse, who come with a pretty solid 12" Three songs deep, the highlight cuts here are "Versus" and "Crabfakers" "Versus" is an up-tempo joint asking their fellow emcee's if there music is truly "hip hop", while "Crabfakers" flips a grimy distorted sounding syth with Rip Shop expressing their views on the more materialistic side of the industry, and those individuals caught up in it. Transmitt feat. Mr. Eon of The High and Mighty is the only track I wasn't really feeling, pretty boring production wise, and nothing amazing lyrically. A solid 12" none the less.
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The next appearance of The High and Mighty, along side that nasty cat Cage, brings a single that was a pretty disappointing. The pace on both these songs was a crawl, with really nothing catchy about them, just your generic underground hip hop. "For The Record" is a bit more creative lyrically than the A-side "First Name Smut", but still slows to a sleepy crawl on the production tip. This crawl reminds me of when a you've got a record spinning at -5 on the Tech, just not very moving to the mind.
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Mr. Complex returns on the solo tip having worked on a lot of collaboration records since his last 12" Visualize, including his work on the Polyrhythm Addicts LP. With one of the most distinct flows in the rap game, Mr. Complex rips it on "Stabbin' You" over a big band sounding track, complete with some ill horns on the hook. This gets the head knodding, as well as a good pace even for a good underground dance crowd. The B-side "Gitcha Gitcha Gitcha" features Rawkus superstar Pharoahe Monch, who hit big with his recent LP "Internal Affairs" but just doesn't seem to bring to this single what he did to his album. Production on this collaboration is a bit disappointing as well, and doesn't complement Complex's high energy flow. A nice 12" for the A-side thought.
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The "Sound of the Samba" is a refreshing listen with Victor Davies singing over live instruments to a smooth latin-influenced beat. Or at least it starts out that way. The Purist and Afro Quartet versions of this track both start to drag about a quarter through the first listen. Davies brings very little ingenuity to the production here using loops. Although live instruments are used, Davies decided to use short four or eight beat riddims and loop these through the whole track. Similarly, the lyrics are limited to bebopping and repitition of the track name. This is the leading cause of listener boredom.
So no one seems to know too much about Jaguar except for the fact that she's down with Okayplayer and for most of us, we don't need to know much more. Coming from such a reputable camp, including The Roots, Soulquarians, Common, Reflection Eternal, etc, the anticipation is definitely there. "Ain't Nobody Playin'"(1) has a nice beat, nothing complicated, a simple nod n stomp that allows Jag to get into a tale of an altercation she had with a certain female. It's a little tough to follow her words, as she doesn't sing them too clearly, but just when you thought you didn't know what the story was all about Black Thought rips a descriptive verse breaking down a play by play account of the beef. Thought definitely does something special here, not to say that Jaguar doesn't do a good job, but Mr.Trotter should be a certified ESL teacher for the clarity of the translation he brings to the track. Check this out and keep an ear out for Jaguar's Denials...Delusions...and Decisions coming soon on MCA Records.
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So...a Bilal track produced by the incomparable Dr.Dre, eh? I had big expectations for "Fast Lane"(1), and I have to admit that at first (being the critical bastard that I am) was a little disappointed, but I've realized that you can't let your own expectations distort your musical intake. This joint is ill. Dre provides Bilal with a sinister track that is anything but typical R&B. For those of you expecting a Soul Sister pt 2, look somewhere else cause this track has more drama than a soap opera before going to commercial. Getting deep into the woes of street violence, Bilal puts it down, using a collage of injected backup vocals and Curtis Mayfield like pitches. To add to the cinematic feel of the track, Dre decides to add a movie announcer voice telling the listener "This is another Dr.Dre production", and a nice one at that. A Dr.Dre movie starring Bilal, Fast Lane is worth waiting in line for.
Side Note: A "remix" for this track has also been released featuring Jadakiss. Same beat, same lyrics, add a rapper. This track was finished and some jackass decided that just cause it's a Dre beat that it needed a rapper. Jada's verse is ok, but the track wasn't broke ya know?
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The second in a series of artists recording under Jazzy Jeff's “A Touch of Jazz Productions”, Musiq Soulchild is a breath of fresh air, following in the steps of the recent ground breaking release by Philly's Jill Scott. This, his second single following the huge hit “Just Friends (Sunny)”, this budding artist who just a couple years back was making his mark on the open mic circuit, has come with another strong single from his Def Soul “ijuswannasing”.
“Girl Next Door” is based on the title of the song it self, a nice smoothed out track with next-up on Jazzy's label, the female duet AARIES. Ayana and Ayinke hold up the bridge and drop some flowing vocals toward the final couple minutes of the track. Although not the best selection on the album, it does display both the smooth delivery and sensibiblity of Musiq's music, as well as showcasing what Def Soul has up next.
“Seventeen” is a clever track touching on the fast pace which young women grown up in this day and age, and how temptation had to be ignored to avoid the drama that could ensue. Lines like “I ain't tryin' to see myself locked up for knockin' off some young jones” is one that many a male could relate to, and which displays the draw of Musiq's lyrics, keeping to situations and stories that both men and women can easily relate to.
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Well, here's one deadly combination, and as guessed they do not disappoint. Primo cooks up one of the nicest joints I've heard from him in a while, at least since the last GangStarr album. What is so nice about the track, is that it fits both Macy's voice, as well as the subject matter of the song, creating a whole ol' time gangster image around the track. I can just visualize the story being told by Macy and Mos Def, a facet that is lacking in most urban music these days, whether R&B or hip hop. In my mind, the best song, is one that tells a story, and this one gets that image across perfectly.
The basics of the track are, that Macy takes the role of a lady who has come to defend her male counterpart (Mos) in a money dispute over his pay. In the ensuing argument, Macy shoots the female storekeeper who's retaining the money owed to Mos. Mos get's wrapped up in the whole capper, with Macy who's entranced by all the money, and they fly off to live happily in Jamaica.
Check it out below, and witness a blazing verse from Mos Def as well, not merely a few lines, but a whole verse within the song...tight! Also check for the tempo change part way though, directly following the shooting of the store clerk.
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The lady that everyone's talking about, pairs up with Mos Def on this 12" in a blazing remix and a rehashed version of the original that are both exceptional in their own way.
"Love Rain" is from Jill's debut album, which was produced through Jazzy Jeff's studio/label and the Soul Aquarians in Philly, as well as many other notable artists and producers. The "Coffee Shop Mix" takes the original soulful version, and adds a beautiful verse by Mos Def, an exhibition of hip hop being a true form of poetry and spoken word. Check out the full verse below.
The Head Nod Remix takes more of a hip hop approach to the song, with Mos getting a good verse in as well, and completely unique from the original version verse. This is what a true remix should be, not just a identical version to the previous, just with flipped beat.
Neither version are on the LP, so even if you aren't a DJ, cop these versions, you won't be disappointed. Look for it on CD, or work those DJ connections you have.
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I know all the ladies need only see the name Brian McKnight and you'll be running to the music store, but R&B has to step up a level to make it in my books. Suprisingly, this new Brian McKnight single has caught my ear. "Stay Or Let It Go" is a slower pace cut, but still keeps a tempo that won't put me to sleep. I especially like the synth effect in the background, reminiscent of the "under water" effect in the recent reggae riddim' named after the sound. Lyrically it's the standard relationship dilemma, however the "sap" level does not get out of hand on this one. A nice track for any occasion.
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Off of Funkmaster Flex's "Live at The Tunnel" Confrontation flips the sample used by Black Moon on "I Got Cha Opin (Rmx)" as well as Ill Al Skratch on "Where My Homiez." Eventhough this has been used, I can never get enough of this sample, and with Mary's crooning, I can't front on this one. Mary flipping a rap though? Haven't heard that since "What's The 411."
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The next single off Montell's new LP "Get It On...Tonight" is an average performance. "Once Upon a Time" has potential for a nice slow jam, but just comes off a bit cheesy. His use of the latin theme may make this one hit, but to me it's a little weak on the production side, and the added sound effect are just unneeded. "Come Home" is something we've all heard before, recycled loops that were used by Yvette Michelle and then killed on AV8 records.
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The lead singer in Dru Hill returns with a solid club record, and nothing more than that. Lyrically, well "Thong Song" is pretty self explanatory, while "Love Is Incredible" is a bit slower, and less overproduced. For the clubs the full effect works to get things jumpin'. A must for all you mainstream club DJ's wanting to make the ladies happy.
Mary takes it underground on this track, with a Havoc remix of her Elton John remake "Deep Inside." With heavy rolling drums and percussion, flowing piano, along with horns and strings in the mix, this is signature Mobb Deep with a touch of class. The orchestral feel to the track well complements Mary's vocals, while Havoc and Prodigy drop two verses on the track. This is a nice alternative to the original, with a faster pact to it, making it a potential club cut to an open minded audience. All you house DJ's may want to check the limited edition UK import for Deep Inside with a couple nice remixes for the clubs, as well as another treat.
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That butta' smooth vocalist and one half of former duo Groove Theory, Amel Larrieux is back. This up 12" to her forthcoming solo LP "Infinite Possibilities" is a nice jazzy piece, produced by Amel herself, and very reminiscent of Roots type production. Vocally, Amel takes a very jazz oriented approach to the song. With two short verses about downs and outs, Amel then repeats the hook "I know you're down, when you gone get up" along with add libs and vocal fills over vibey keys. All in all, a nice laid back song that's got me jonesin' for the LP already...needless to say hoping to catch Amel in a new video...mmmmm.
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This French duo has certainly been well accepted in the hip hop community. They have done songs with Black Thought of the Roots, DJ Spinna, and now O.C. and Concise. Although it's some what difficult to say Les Nubians performed much on this 12". The A side features all of twenty seconds of Les Nubians. The rest of this track is O.C. and Concise dropping some less than spectacular rhymes over the original beat for the "Makeda" remix. The B side is the exact same beat - how do you do three different remixes of one song with the same beat every time - with a better performance from Concise and O.C. Les Nubians contribute more than a microsecond of vocals, and they sound in harmony with the featured mc's. This is a white label release, and it's kind of expensive - ten bucks for two tracks, no instrumentals. Unless you have unlimited resources or you just appreciate having rare titles, don't sweat passing on this one.
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Yup-Yup, those 80's cats Guy are back with a new single "Dancin'" and LP on the way set for February of 2000. With the flop of Teddy Riley's BlackStreet, he's returned with his original group for a Y2K album. "Dancin'" isn't anything ground breaking, but this is a nice party track for the clubs. That Guy harmony is still there, and they do sound good together on this track. Look for the commercial single out in stores soon, and the album in the new year.
The second single to Eric Benet's "A Day In The Life", "Spending My Life With You" now has a remix featuring labelmate Terry Dexter. As an LP that I loved, the original of this track with Tamia was one of the few average cuts in my mind. I wan't really feeling the original. However, this remix caught my ear right away, with it's southern soul vibe, similar to that of many Jon B tracks. Eric and Terry make a completely new track out of this single, a step above the original. The hook on the chorus is the same, but it just works more smoothly, and less chessy than that previous. So, if you were feeling his album like I was, go out and pick up the single with this new remix. You won't regret it.
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