The Beatnuts - Take It Or Squeeze ItThe Beatnuts first arrived on the scene in 1993 with the now legendary EP Intoxicated Demons. Bringing a formula of seriously dangerous beats with corresponding thug rhymes, Demons, their 1994 offering, Street Level and 1997's Stone Crazy recieved tons of critical acclaim from the underground, but it wasn't really until 1999 with Musical Massacre and the huge single "Off The Books" that the commercial audience began to warm to them.
Psycho Les and Junkyard Juju, the duo known as the Beatnuts, are exactly that. They are also masters of their craft. Somehow, without changing their formula, they manage to come with beats dirty enough to satisfy the streets while keeping them catchy enough to please the club hoppers.
No one I know would argue that the Nuts are the best lyricists around. However, their twisted humour, understanding of flow and "thug-with-a-conscience" lyrics definitely do the job. When they go outside of the immediate duo for additional lyricism, they include former member Al-Tariq (formerly Kool Ass Fashion), Tony Touch, Greg Nice, Black Attack, Willie Stubz, Fatman Scoop, Problemz, Triple Seis and Method Man. While a few of these (notably Al-Riq, Black Attack, Meth and Problemz) are strong performances, the rest hold their position, which is firmly second to the beats.
Blazers on this one include "Prendelo (Light It Up)," "Contact," "If It Ain't Gangsta," the first single "No Escapin' This," "Who's Coming Wit Da Shit Na," "Hammer Time" (no, not THAT Hammer, thank God) and "Mayonnaise."
This is without a doubt an album for the beat heads. It will sound it's best blasting in the club or booming out of a car system. Particularly lyric oriented fans may be somewhat disappointed, but what do you really expect from a Beatnuts album? Still, if some hype beats and adequate lyrics will suffice for you, it remains a solid purchase.
Buck 65: Man OverboardThe Anticon crew is one of those groups with a quiet legendary status. While your average cat may never have heard of them, the likes of Sole, Dose One, Sixtoo, Why?, DJ Mayonnaise and Halifax native Buck 65 have long had a fanatic and loyal following somewhere beneath the surface.
Continuing to push the boundaries of what to expect from hip-hop, Buck 65 brings us the Man Overboard album. He has combined brooding poetry with dark, evocative beats that wash the listener away in their currents.
It's really hard to describe the beats here as anything other than experimental. While they share the aforementioned brooding quality, in many ways they are worlds apart. One interlude uses manaical laughter for it's melody while the next whimsical sounding beat uses oboes, flutes, and a choir singing in a foreign language. Very interesting to say the least.
Buck 65 is as varied a lyricist as the beats he is provided with, showing a remarkable ability to morph into something that fits each beat while remaining himself in essence.
Unfortunately, I wasn't provided with a tracklisting for this one, so I can't give you the names of tracks to check for.
This moody, mostly low key, involved album is not necessarily for everyone - it probably wasn't meant to be. Those willing to be carried with the vibes and having a somewhat twisted sense of humour will have a great trip.
Cannibal Ox - The Cold Vein1997, an era in which the commercialization of hip-hop was at it's height, New York underground crew followed up their Funcrusher EP with the Funcrusher Plus LP. That album has obtained the status of a classic and many fans mourned the official break up of the group. Now El-P of Company Flow presents a new group to challenge his own legend.
The Cold Vein is an exploration of New York from the perspective of the highly intelligent, thoughtful and thought provoking Cannibal Ox crew. Listening to Vast Aire and Vordul Megala on the mic and El-P building the tracks takes the listener through the cold streets of the NY city.
El-Producto's filthy, involved beats have progressed since the Funcrusher Plus era. He still enjoys juxtaposing otherwise abrasive sounds to create oddly addictive sequences. The unorthodox approach of the crew applies also to thier hooks, most of which don't fit the pop mold any more than the rest of the crew's undertakings.
While El-P's beats justifiably recieve a lot of attention, the real highlight of this album is probably the lyricism. Vast is among the top lyricists in the business right now, with his abstract yet brutally direct delivery. "If first you don't succeed / Try try again / Step up to the mic / And die again / This is the next lifetime and you wanna battle / Either you like reincarnation or the smell of carnations." His ornorthodox delivery brings poetry back to hip-hop in a way totally different than most "spoken word" artists, yet rides the beat at all times in the fashion of a truly talented MC. Vast's partner in rhyme, Vordul Megala is no less impressive. While his delivery is perhaps less distinct, his lyrics hit just as hard and are a strong complement to Vast's. There is not a lot of complex mic team-work here, but at the same time, there is the strong feeling that this is a real crew and not just two solo MCs working together to make a buck.
Since getting this album, it hasn't seen much time outside of my CD player. Tracks like "Iron Galaxy," "Ox Out the Cage," "Atom," "A B-Boys Alpha," "Raspberry Fields," "Straight Off The D.I.C.," "Vein," "The F-Word," "Stress Rap," "Painkillers," "Pigeon" and the bonus track "Scream Phoenix" allow this album to just repeat without ever getting tedious. In particular, peep "Raspberry Fields" for it's hyper-energetic beat and top-notch lyrics, "Vein" - perhaps my favourite beat here and "The F-Word" - Vast's brilliant exploration of friendship vs. intimacy.
After all the noise Co Flow caused with Funcrusher Plus (and to a lesser degree Little Johnny from the Hospitul), anyone from that camp had a lot to live up to. The Cold Vein exceeds all expectations - managing to be a concept album without smashing you over the head with the concept, a concious album without preaching, and keeping both beats and rhymes tight throughout. This is album is an absolute gem, and worthy addition to your collection.
Gamma - PermanamentBig Dada, a subsidiary label of the mighty Ninja Tune, bills itself as "Rocket Fuel for the Inner City Space Program." Boasting such talent as Mike Ladd of Infesticons fame, New Flesh For Old and of course Roots Manuva, they have released consistently high quality hip-hop and the new release by Gamma is no exception.
Gamma consists of "Lord" Juice Aleem, also a member of New Flesh For Old, Robotic E.B.U. a.k.a. Blackitude and Lord Redeem. Aleem and Ebu produced the album as Shadowless Productions. The beats on this one blaze with the originality common to the UK hip-hop scene lately. Using unique samples and riddims heavily influenced by Caribbean music, the sounds form a solid foundation for the rhymes.
All three of Gamma's members are skilled rhymers, with Aleem leading the way here. The lyrics stay well away from the superficial shit that is so prevalent in North America right now, sticking largely to talk of skills and social commentary.
"Black Atlantian," "Slang Teacher," "Supreme Confidence," "Drunken Dreams" and "Life Times 2 Divided by 3" lead the way, although you probably won't be reaching for the skip button much.
Big Dada keeps it's impeccable record alive with me. This album is more than just solid, it's one that will have you reaching to put it in your system a lot, and thinking about it when you're away from a CD player. It's familiar enough to be appreciated, yet original enough to stand out on its own. Definitely a recommended purchase.
Hi-Tek - Hi-TeknologyDJ Hi-Tek has already made quite a name for himself. Having produced tracks for such luminaries as Common, Talib Kweli, Mos Def and Mood, he now branches out with his own full length, Hi-Teknology.
As is fitting for a producers' album, the beats lead the way here. Tek's production is very soulful, using skillful drum programming and ear-catching melodies to carry the listener along with the track. His choice of instruments is also ear-catching, from simple guitar riffs to slick vocal samples.
To handle the lyrical side of things, Hi-Tek has gone to some of his big name friends, including Common, Talib Kweli, Mood, Slum Village and Buckshot. The lyrics are unfortunately not always up to par. Buckshot's performance for example, while showing glimpses of his undeniable talent, remains stuck in his BDI Thug persona.
From intro ("Scratch Rappin") to outro ("Hi-Teknology"), there are a couple of standout tracks along the way. In particular, check for "The Sun God" featuring Common and Vinia Mojica, "Round and Round" featuring Jonell, and "Suddenly" with Mood
Hi-Tek has provided the listeners with a solid, although probably not classic album. While the lyrical performances are not always up to the caliber of the beats, it's not an album you're likely to regret having. It's also one of those albums you can play in mixed company, as people of many different musical backgrounds can find some common ground here.
Kardinal Offishall - Firstarter Vol. 1: Quest For Fire 
By now, it's no secret that Canada and the Toronto area in particular has a strong, vibrant hip-hop scene. Arguably one of Toronto's best, Kardinal Offishall is finally about to make some noise internationally (we hope) with his album Firestarter Vol. 1: Quest for Fire. His debut album, Eye & I displayed a remarkable versatility in sound, but ultimately didn't reach enough ears to be really successful. With MCA's distribution behind him, Kardi is shooting for orbit this time.
First off, Kardi has already established himself as one of the premier lyricists from the T-dot area. This mastery, along with the natural charisma that allows him to control crowds, in very evident on Firestarter. From the top, he establishes himself as the centrepiece of the album. Even when other MCs appear, such as IRS on "Ol Time Killin," there is no doubt that it is a Kardi track. Check his "dis" rhyme from "Mic Thugs" in particular.
Kardinal is also a gifted producer. So much so, in fact, that he enlisted heavyweights Saukrates, Mr. Attic from the Grassroots and his partner Solitair behind the boards, and handled the rest of the duties himself.
One drawback to this album is that longtime fans really aren't hearing that much new material here. However, as a major label debut, this is really an intro to Kardinal for the masses of people who haven't been lucky enough to know about him to this point. Besides, the new tracks are bangin.
From jump, "Bakardi Slang," the first single will hit you. "Mic Thugs" and "Husslin'" will be familiar to 12" slingers while "Ol Time Killin" is quite simply the track. Kardi, Wio K, IRS, and Attic have connected to create one hell of a big tune here. "Man By Choice" is a very message oriented track which exposes Kardinal's more thoughtful side. "U R Ghetto 2002" is an update of the single, with a couple of shots for Sticky Fingaz for biting. "Quest For Fire," "Powerful," another song with quite a message, "On Wit Da Show," and "Go Ahead Den" round out the excellence.
At 15 tracks of bare fire, there is really no reason you shouldn't have this album in your collection. There are tons of expectations on Kardi for this album, but regardless, he has put together a remarkable album in Firestarter: Quest For Fire Vol. 1.
KRS One - Sneak AttackThe Blastmaster has returned! Releasing his first album - the undisputed classic Criminal Minded - back in 1987, Kris Parker has remained a fixture in hip-hop. His track record speaks for itself. The aforementioned Criminal Minded, By All Means Necessary, Ghetto Music: The Blueprint of Hip-Hop, Edutainment and Sex and Violence with the seminal crew Boogie Down Productions, followed by Return of the Boom Bap, KRS-One, and I Got Next solo. Now he has launched The Sneak Attack on a diseased industry, full of materialism, negativity and snakes.
The bulk of the production here is handled by KRS and his brother, Kenny Parker. For the rest of the album he goes to Grand Daddy I.U., Jazzy Jeff, Domingo, B.J. Wheeler, Fredwreck and Mad Lion for rhythmic backdrops. The beats are pretty good, but it would have been nice to have a couple of more really stand out.
Lyrically, it goes without saying that KRS handles his business. He sticks to what seems to be his usual subjects - dealing with the state of hip-hop, reminiscing on its golden days and examining issues he feels are of importance to the community. Take "Why" for example, which looks at the question people don't ask enough.
"Attendance," "Hot," "The Lessin," "The Mind," "Hiphop Knowledge," and "The Sneak Attack" are stand out tracks on a very solid album. The real gem though, is "Shutupayouface" which uses a haunting harp riff and unorthodox drum lines to hold the listener.
As usual, KRS has provided a solid album. While some tracks could really have done with better production, he proves that he and his message still have relevance in today's hip-hop. For those of you interested in some music which deals with real problems intelligently and just straight raw music, here it is. There are a few tracks on here that will bump in the clubs too. Some say KRS is contradictory, but he certainly knows how to represent all the varied aspects of this artform. This is raw, uncut hip-hop from the Teacher, and is a welcome lesson in any true fans' collection.
Redman - MalpracticeIf there's one thing that can be said about Redman, it's that he's consistent. Every couple of years, the Brick City Gorilla comes stomping through with another right album. In between, he keeps his fans happy by appearing all over the place. He even rips up tracks with artists some of his fans wouldn't even check for normally. If there's a mic and a beat, believe Reggie's gonna rip it. From his first appearance as a member of the legendary Hit Squad, through his first solo album - the acknowledged hip-hop classic Whut? Thee Album" through the dissolution of the Hit Squad and the formation of the Def Squad to joining up with Method Man to form America's Most Blunted duo until the present; Red has displayed a fire and energy which are infectious, forcing your head to nod and your spine to move.
Malpractice doesn't stray too far from the Redman formula - funk laced beats and raw rhymes that leave the listener shaking their head and wondering if they heard him right. However, this formulaic approach is not necessarily a bad thing. The Funk Doc seems to have taken the old saying, "If it ain't broke, don't fix it" to heart. But it takes more than just songs to make a Redman album. It just wouldn't be complete without the Drama Squad and the patented skits and guest appearances from Red's many, many aliases. He does an admirable job of keeping the skits fresh, funny and seperate in case you want to skip them.
The vast majority of the production is done by Erick Sermon, but he's also blessed with beats by Rockwilder (one of his proteges), Adam F, Toronto's own Saukrates, DJ Twinz and of course himself Da Mascot. For the most part, the beats fit the funk mold, suitable for banging from the ride, sessions and jams alike. The exceptions just make the whole stronger, such as Rockwilder's brash production on "Let's Get Dirty."
Redman's lyrics are the epitome of energy. His cleverness, wordplay and ability to make any beat his own definitely stand out here. With the guest artists, he's allowed the truly skilled - Scarface, Mally G, Icarus, Saukrates, Treach (who has a BLAZING verse on "Real Niggaz"), Saukrates, Meth, Streetlife, Double-O, D-Don, his sister Roz, Keith Murray and George Clinton) room to shine, while using the less gifted (Missy, DMX, DJ Kool) perfectly so as not to overly annoy his core fan base.
Like most Redman albums, it's very hard to press skip once any track starts. Particularly hot tracks include "Diggy Doc," "Lick A Shot," "Real Niggaz," "Enjoy the Ride," "J.U.M.P.," "Muh-Fucka," "Bricks Two," "Doggz II" the TWO (2!!) Soopaman Lova songs and "Smash Sumthin'."
All in all, this album is hot from beginning to end. I predict a lot of heavy rotation for this album, regardless of support from mainstream media outlets. Run out and cop this one. It's a multi-purpose tour-de-force.
Taskforce - The Great Outdoors EPAfter their acclaimed 1st EP produced by UK stalwart Mark B, The Brother's McBane have moved to LowLife (www.lowliferecords.freeserve.co.uk) records and picked up the majority of their own production. Busting onto the UK scene early with the MudFamily and BuryCru EPs and ground-breaking Mudlams shows, brother-duo Chester P. Hackenbush and Farma Giles built upon years of thriving on UK hip-hop culture amongst the graffitied housing estates of London.
From the opening chords of "Come With Us," the unknowing listener would think this is a talented jazz or rock band, only when the trademark lisp of the MC begins do you realize that this is an offshoot of the hip-hop family tree.
The EP begins with a solo blast by 1999 UK Freestyle Champion Chester P over an intriguing Wileekyotis beat. A straight-up battle track, it lends credence to the underground hype in the UK that followed his now legendary battle with Common. This hardcore spitting is immediately juxtaposed by the following track, "Butterfly Concerto", a melodic ode to the beauty of nature. The epiphanic imagery of a hip-hop concert amongst the insects at the "Beetle Bug Ball" is obviously inspired by a strong emotional experience of nature that's been a part of English poetry for centuries. The sample of a medieval lyre and the continuous sounds of birds, and waters splashes, adds a magic feeling that causes me to personally rate it amongst the very best recent hip-hop songs, for both lyrics and production. The track takes a huge risk in departing from traditional hip-hop subject matter, yet, to me, therein lies its inherent strength. "The Man With Six Names", takes us through six different persona of each emcee, the rhyme structure of each address being intentionally altered to not rhyme in the expected locations. The beat and concept really suit Farma's gruff story-telling voice. The next track, "Cosmic Gypsies", features guest vocals from Jehst and emcee/producer Braintax. The chilled feel complements the amusing space-adventure stories and clever wordplay. "Battlecats" returns to their trademark in-your-face battle style without descending into talks of guns, hoes, and gold, as is to often the case these days. "The Last Song" has a Native American vibe to the beat and chanting chorus, showcasing their inventive flow and vocal control.
The Great Outdoors EP is amongst the best material to come from Europe at the current moment, and although it will be probably subject to the average hip-hop listener's immediate aversion to a novel accent, attitude, and aptitude, the open-minded hip-hop lover will find the record a ground breaking gem.
Tough Dumplin' Foundation For Better BeatsIf you want proof that Toronto and Canada can produce strong hip-hop entirely on their own terms, you need look no farther than the Tuff Dumplin' Foundation (formerly Nefarius.) This is a group that has it all - a talented DJ in Don D, production for days from Don and Collizhun as well as tight rhymes from Collizhun and Kwesro (R.I.P.) You know what you're in for as soon as the intro, "Who Mekin' All De Money" begins. Over Collizhun's reggae-inflected production, you get samples from Jamaican movies.
As mentioned, the production is always on point. As a matter of fact, the second half of the album is a series of instrumentals, to give heads an idea of what Don D and Collizhun are up to in the studio. You won't even want to skip the interludes here, especially the hilarious "Game Show (Skit)."
Kwesro was the lyric champion of this group, but don't sleep on Collizhun. His self-deprecating style conceals a talented MC with an extraordinarily sharp sense of humour. Don D completes the package with the cuts that hold the tracks together. Montreal's Butta Babees and Sekou Toure make a guest appearance on the "Toe To Toe (Remix). Don't miss these verses, especially Sekou's.
"Lei Lo," "Pondering," and "Toe To Toe (Remix)" are the hottest vocal tracks. On the beat half, peep "Bussin' Out The Perpetrators," "Ill Rhyme," "Street Jam Beat" and "Just Came From Jamaica" will keep the beat heads and freestylists happy.
This is one of those indy projects you really shouldn't sleep on. Beat heads will get more than their fill and fans of vocals will get theirs too. Definitely a standout album so run out go buy it no? A weh yu a wait fah bwoy? Gwan!
Sometimes an album comes along that's a little bit outside the accepted norms. At a time when a lot North American hip-hop is stagnating under the weight of it's own commercial success, something outside the normal envelope is quite welcome. It's into that climate that 4th Pyramid presents The Light is But The Shade Of The Darkness.
There isn't really any doubt that this album fits under the hip-hop spectrum. At the same time, it refuses to be limited by that label. His crisp snares and kicks form the backdrop for soundscapes with jazz inflections, latin rhythms, pizzicato strings or mellow grooves with Lee Perry samples ("Marching into Armageddon Pt. 2"). Pyramid is definitely a musician at heart, check the involved horn lines, piano riffs and guitar.
Especially good tracks include "Marching Into Armageddon Pt. 2," "Thieves in the Night," and "Wallabee Strut,"
The final verdict: This album is a great instrumental album, suitable to throw on in the bathroom at a dinner party, chill out to at work or at home, or just for enjoyment. It's worth checking out at the very least.
Now it's time for something a little different. Dwayne Morgan is a talented spoken word artist out of TO, one who this reviewer has had the pleasure of seeing perform a few times. It's a little more mellow than some heads might be used to, but fresh nevertheless. Not only that, but the album was recorded live with no rehearsals. Impressive to say the least.
Sometimes there is music included to emphasize Dwayne's words. Other times, the fact that there is no music is enough emphasis in itself. The musicians who appear are quite talented in their own right, but they are very successful at not taking the spotlight from Dwayne.
Dwayne spits pure lyrics on this one. His poetry is clever, engaging and poignant. He's also not afraid to address controversial or difficult subjects, which is always admirable in an artist. He does fall into cliche every now and again, but for the most part, he is a very articulate brother.
Works that stand out here include "Three Knocks," "Sixty Clicks," "Just One Night," and "My Ass Is Burning."
The Evolution is an exceptional piece of work, giving some light to the vibrant yet paradoxically virtually unrecognized Toronto spoken word scene. If you're into poetry of any form, give this album a listen.
Gang Starr - Step In The ArenaAlmost anyone who you ask will agree that DJ Premier is among the top 5 producers, but it constantly surprises me how few people are aware of his first masterwork, the Gang Starr album Step In The Arena. Gang Starr's second album (the first is the rare No More Mr. Nice Guy) this is one of my favourite albums of all time, and up until the new Gang Starr album, was my favourite work by them.
Do you remember tracks like "Step In The Arena," "Who's Gonna Take The Weight," "Check The Technique," "Love Sick," and "Just To Get A Rep?" Well, they are all off this album. Remember when albums used to be solid beginning to end, not just a few singles and 10 filler tracks?
Well, this is a perfect example.
The Premier attraction of this album is of course the production. Primo's trademarked scratched choruses, (a style borrowed beautifully by PF Cuttin' on Blahzay Blahzay's "Danger"), and use of different and innovative sounds is in full bloom here. Like Pete Rock, Primo doesn't just create tracks, but soundscapes, allowing the listener to travel for a few minutes in his mental dimension.
Just because the tracks are so great doesn't mean that Guru's rhymes should be slept on. His monotone style, while simple, is powerful and fits the beats perfectly. In addition, he actually has subject matter, unlike fellow monotone "rapper" Ma$e (although I cringe to put Guru and Ma$e on the same page even for comparison's sake).
The final verdict: A MUST for any true head's collection. This album remains a classic, and a standard by which to measure all albums that come after. Beg, borrow, tief, whatever, but get this album.