Every so often, an album comes a long that will have the 'net buzzin. Like wildfire, opinions and the such spread from site to site. One thing I think is wrong with today's technology is people form opinions waaaay to fast. After one listen they tend to say an album sucks or the claim it as "Album Of The Year". I'm guilty of myself, but lately I try to really give it a lot of listens before I form an opinion. It's one reason I'm so damn slow doing reviews. Which means this whole "First Listen" thing that I've done in the past (Jay-Z's American Gangster and Wu-Tang's 8th Diagram) is kind of hypocritical in nature, but I'll join the flock and follow like sheep as I take a listen to the new buzz joint to drop, Raekwon's Only Built For 4 Cuban Linx 2. Some of you may remember the way I do this, but since it's been almost two years since I done a review like this, I'll recap it. I take the download unheard and write while I listen to it. No preformed opinions (not really at least), no millions of listens, just a virgin run through and my first impression. Easy enough? Well, you would think.
In two days this week, we've had two of the most anticipated releases find themselves being plastered across the internet. Not being one to sit on twitter or whatever the hot forum is for the newest leaks, I rely on others to tip me off of their release with a link or what not in my email (Thanks to Has and Khal for hooking a homie up). Jay dropped yesterday and in actuality I was planning on doing "A First Listen" for the Blueprint 3 album, but curiosity got the best of me today at work and I listened to it. My feelings on it? Slightly disappointed to be short. Great start, weak middle and a decent ending. Only one listen though and I'm sure I'll give it a few more spins before casting my final opinion upon it. That left me with the Raekwon release, which honestly I wasn't expecting to leak so soon, but it's here. I'm at my desk, with headphones and a cold Sam Adams Cream Stout, ready to check out Only Built 4 Cuban Linx 2.
What do I expect out of this album. To be honest, I've tried not to get my expectations up to high for this release. It's been rumored for oh so long and let's face it, Rae's track record since the original OB4CL isn't really all that great. A lot of hype has been surrounding the album and after the Jay release, I can't really think of anything that can rival the anticipation this year (and it's not even the fourth quarter). I've only heard two songs from it, "House of Flying Daggers" and "10 Bricks", which both songs living up to the hype. But two songs don't make an album, and too many times I been burnt like a man with a hooker addiction. I'm going in with a clean man, low expectations and a good beer to boot. Fire up the headphones and lets get going.....
1. "Return of the North Star" (featuring Papa Wu) Produced by BT
A slow sample kicks off after a few seconds of talking about being "bad". The dude is giving it up to Raekwon and is talking about the past, "devils" and other assorted nuisances. I'm taking it that this is your prototypical intro. Nice horns, but ho hum otherwise. Nothing gained, nothing lost.
2. "House of Flying Daggers" (featuring Inspectah Deck, Ghostface Killah, Method Man) Prod by J Dilla
Although I've already heard the song and seen the video, I haven't heard it enough to derive a solid opinion on it. The first impression is that it's dope as fuck. The kung fu samples kick it off, then the beat begins to bang. It's almost hard to believe that Dilla did this beat, it would give RZA a run for his Wu sound back in the day. Deck, probably my favorite of the non major Wu members, kicks it off and delivers a nice verse. Rae follows and sounds like the Rae of old as he takes the beat like a man takes the least of a pitbull. The chorus is nothing new, but I can see it growing on me. The more I go with this, the doper it gets. Wow. Ghost does nothing to take away from the frenzy that is growing in my gut. Next Method gives me the goosebumps on why he is better than Joe Buddens could ever wish he was. Not a damn thing wrong with this song and could very easily be one of the top 10 songs of the year when it's all said and done.
3. "Sonny's Missing" Produced by Pete Rock
I'm not an expert on the Kung-Fu samples by this same sample can be found on the original OB4CL, I believed right before "Incarcerated Scarfaces". A Pete Rock beat follows it up with a dark and swirly beat, with keys and a wicked bassline as it rumbles in my Bose headphones. Rae starts to tell a story, apparently of Sonny, who is missing. The beat matches to story perfectly and Rae does an admirable job of spitting a story that is both captivating and dope.
4. "Pyrex Visions" Produced by Marley Marl
Marley next? Are you kidding? I didn't read the producer lineup before hand, again as part of my plan of not getting my hopes up to high. It was probably a good thing, because how can you not have expectations with Dilla, Pete and Marley basically producing your first three songs on your "come back" album. The beat almost reminds me of a Primo beat. An ill guitar lick is what catches my ear at first, adds to the atmosphere of the song. Rae is spitting kind of lazily but quickly at the same time, then before I know it, it's over....whaaaaa????
5. "Cold Outside" (featuring Ghostface Killah, Suga Bang) Produced by ATL
More Kung-Fu samples, which I thought added to the overall feel of the original OB4CL and so far is doing the same with it's predecessor. A soul singer or a sample kicks into the horns of unknown producer ATL. Starting off kinda slow, but it adds to whole mood. Then the heavy bassline kicks in, leaving the memories of "Rainy Dayz" dancing in my head. Rae starts spitting and I can't help to notice that he hasn't lost a step. Ghost adds his own flavor to it and the dynamic duo of Rae and Ghost is in full effect. This is a song that will probably need to grown on me a bit as I found myself getting kind of bored with it before it was over, but it's still not a bad song by any means.
6. "Black Mozart" (featuring Inspectah Deck) Produced by RZA
Next comes the first of two(?) RZA beats. Not knowing what to expect with this, I brace myself for the worse as the movie sample plays out for the intro. Nothing great, an electric guitar stabs as kind of a 8th Diagram beat kicks in. Not sure how I feel about this one. It just doesn't seem up to par with the other stuff I've heard on the album so far. The chorus is kind of cold, which is a good thing. But then it seems to be growing on me about the time Deck steps in. Kind of a twisted kaleidoscope type of feel to it, not sure if Deck just sounded better over it, but its got better the more it played out. The chrous is one that I can see sticking in my head for next few months if nothing else.
7. "Gihad" (featuring Ghostface Killah) produced by Necro
I've never been a big Necro fan in any capacity, so I brace myself for the worse with this one well. It starts off surprisingly good. Some kind of weird vocal sample that adds a lot to it and all over a dope bassline, which sounds real good in the headphones. Nothing wrong with the beat. Rae does his thing and then tags off to Ghost, who adds to the track and sounds better over this type of thing than Rae does. I listen to Ghost spit his verse and remember he is probably one of the better lyricists in the game.
8. "New Wu" (featuring Ghostface Killah, Method Man) Produced by RZA
Missed this track when I mentioned what tracks I had heard already. I've played this track a shit load this spring. The beat sticks in your head and all three MCs kill the mic. Flying Daggers might have beaten out for my favorite track so far, but this is a close second and will be on the year end list.
9. "Penitentiary" (featuring Ghostface Killah) Produced By BT
A jail tale, it's kind of a hard to get into after "New Wu" as the mood is a complete 180 from what we were listening to. Once you get used to it though, it's dope. Not sure it brings anything major to the table, but it doesn't take away anything neither.
10. "Bagging Crack"
No production credit on the source I'm using, but I would almost say a Dre beat? Rae does his best work over the quicker beats such as this as he flows to them so effortlessly. The beat is merely a canvas for Rae to paint his words over. Okay, cliche on my part, but it's Rae doing his thing on this beat that really makes this track work. The beat is cool, but because Rae makes it that way.
11. "Surgical Gloves" Produced by The Alchemist
After two shorter joints that make me question the how they fit into the album, it's time for an Alchemist joint. One thing I can say so far, there are a lot of different sounds found on the album so far and I'm not sure how it's all going to play out as far as cohesiveness goes, as long as Rae keeps that Kung-Fu/Wu-Tang vibe going with it, it should be okay, but only RZA (and his beats were completely different from each other) and BT show up more than once so far. Al brings a type of funk to the table then brings that stuttering beat crap that kinda of annoyed me on his own album. The beat is too busy to really hear what Rae has to say. I think if Al would just let the guitar lick play out, it would sound a lot better. This song doesn't do much for me.
12. "Broken Safety" (featuring Jadakiss, Styles P) Produced by Scram Jones
Scram Jones does a nice RZA (old school) impression with this beat. Jadakiss leads it off and does good over this type of beat. The bass is loud and thumping, and rattles my inner ear drum a bit. Rae throws his two cents over the beat and both benefit from it. I've never been a Styles P fan, and this performance won't do anything to change that, but it's not bad neither. Solid track in the end, more than filler, but probably won't be a stand out track in the end.
13. "Canal Street" Produced by Icewater
Menacing horns blare in the background as Rae talks his shit over some city scapes in the background, but then the horns start to grow. It's a good minute before the track really gets going. Unfortunately, the last few tracks although sounding good kinda start bleeding together to me. I'm diggin' it and they will probably separate themselves with more listens, but right now it's kind of a turn off. I'm digging the horns here, we haven't really heard strong horns until now. But he follows the path of the last several tracks, short and to the point over similar sounding basslines and the such.
14. "Ason Jones" Produced by J Dilla
This is looking like the switch up I was looking for. Strings, some soulful vocal samples which leaves Rae sounding a little more nimble yet somber (is that possible?). The Ol Dirty tribute track and it's quite fitting for Ol Dirty. The more I listen, the more I'm enjoying the tribute track. With the beat and the way Rae is delivering his tribute, it's a great track. RIP ODB!
15. "Have Mercy" (featuring Beanie Sigel) Produced by Icewater
With Beanie as one of my love/hate artists, it should be interesting to see what becomes of this track. A familiar sample (Ant sampled it on a recent Atmosphere track) comes in after some singing. Beanie sounds like he swallowed some gravel and it works great over the sample and the tweaked bassline. Definitely feeling this track. The same subject matter again, but it's tracks like this that make it worthwhile listening to it over again and the reason why I listened to it in the first place. The haunting singing by Blue Raspberry is a perfect fit. One of my favorite tracks so far.
16. "10 Bricks" (featuring Cappadonna, Ghostface) Prod by J. Dilla
This was another track I had already heard and loved. Nothing changes here, as all involved completely and totally rip shit down without notice. Dilla was the king of turning something you might find annoying and making it sound completely dope. And the beauty of it all is this is different from the rest of the album sonically, but it still fits well onto the album. It's one of the better tracks on the album so far, which is saying a lot at this point in time.
17. "Fat Lady Sings" Production by Icewater
Another Icewater joint and relatively short. It takes sometime to get going, but once he does it sounds relatively dope. But in the end, I don't see as anything more than an interlude.
18. "Catalina" (featuring Lyfe Jennings) Production by Dr. Dre
Finally, one of those much publicized Dr. Dre beats. Will it live up to the hype. Right off the bat, I like the beat, but I question how it fits in with the rest of the album. I like breaking up the monotony, but you can't go to far over the mood you are trying to portray to the listener. Sparse piano keys scatter over clashing cymbals and horns at a timed rhythm. It's cool. Like I said, it comes off more as a party jam that the dark drug tale beats found on most of the album. I can do without the singing on the hook, kind of ruins it for me. I'm on the fence with this song, but that chorus is almost god horrible. I don't think this song belongs on the album.
19. "We Will Rob You" (featuring Slick Rick, GZA, Masta Killa) Production by Allah Justice
Slick Rick is the man in my book, so I'm interested to see how this turns out. The beat is one of those that isn't supposed to be ear grabbing, just a solid foundation for the emcees to laid down their bars. It's good to hear GZA and he sounds ill over this beat, this is after Rae spits bars about the drug game, but it's kind of in the vein of Rick's fun stories of years past. Rick supplies the hook, which is an interpolation of "We Will Rock You" from Queen. Masta Killa is kind of a snoozer, but doesn't drag the song down too much. The only thing disappointing about this song is that Ricky D doesn't play a bigger part in it.
20. "About Me" Production by Dr. Dre
Another Dre beat and I'm still not sure his production fits this album. It's a step above the last beat, but I think I would rather hear Dre himself rhyming over this. Rae does his damn thing on it though, over the bouncy piano keys and slick production. Busta adds some of his famous adlibs while Rae kicks the chorus. I actually really like this song. Then Busta actually spits a verse. So much for trusting the track listing. Busta sounds damn good over this type of beat as well. He is subdued, which is works on this. Really like the track, but I still question how it fits into the overall production of the album.
21. "Mean Streets" (featuring Inspectah Deck & Ghostface) Production by Allah Mathematics
A strong soul sample kicks of this track after some posturing before hand. I get an apocalyptic feel from this track, although it sounds like another song/beat out there from somewhere else. It's busy as Rae uses the same flow that he has used most of the album, but it works and it works well on tracks like this. Deck makes me wonder why his albums aren't better than they are as he drops another memorable performance. This track is a nice one to start wrapping up the album.
22. "Kiss the Ring" (featuring Inspectah Deck, Masta Killa) Production by Scram Jones
I accidentally had my winamp on random when I first started the album and this was the first song that started and I was doing flip flops over it then. Twenty-two songs later, it serves as the closer for what's been a really good album. Incorporating a 70's rock song sample that I can't seem to place, it serves as the major backbone as the big beat bangs. Banging track that I can't wait to hear in the car with a little boom in it. Great way to wrap it all up.
First Impression:
I'm not going to say it's the best album I've heard all year, but on the first listen, I definitely want to hear this more and get a better listen on it. There are no "bad" songs on this really, "Catalina" might be the closest thing. In the middle things get kind of muddled and some songs start bleeding into each other as far as sound, but it pulls out of that before the end of the album. It might have benefited from shaving a handful of tracks off the final track listing. While there are very few stinkers to be found, like a movie preview that shows all the good parts, most of the bangers are songs that have previously leaked as well. In the end, there is a lot to digest here and I'm sure time barring, I'll have a better handle on this entire work in a month or two, but I'm looking forward to it, because this exceeded my small expectations I had for it.
9/02/2009
A First Listen: Raekwon - Only Built For Cuban Linx 2
7/29/2009
Reviews by a Rapper: MC Sergio - Makin' A Killin'
I sat in a dark alley.
My car's engine idled and sputtered before finally coming to rest. I promised myself I'd get a tune up, but right now there were more pressing issues.
I waited in the alley...anxious.
A figure appeared behind a cloud of mist bursting from a cracked pipe by a fire escape. Could that be him? As the figure got closer I marked the ratty old hat and stained trench coat. I committed everything to memory that I could, but the most important thing was missing: a face. His collar seemed to conceal his entire face. At first glance one might think there was a black hole where his face should have been.
He sat a small package on the damp concrete and stepped back through the smoke before i had a chance to react. I got out of the vehicle...walking slowly toward the mysterious package. i reached down to pick it up- the sound of metal clanging to the side of me! I whipped around to see a rat scuttling away. The pest had knocked over a paint can and scared the hell out of me in the process. I grabbed the package without hesitation this time, turned around and hurried back to the car.
A wry smile crept onto my face as i opened the package...it contained a single cd: MC Sergio "Making A Killin'".
Okay so maybe it didn't happen that way, but still, I am peeping this MC Sergio album, and since you're here...lets talk about it.
The first thing Travis told me in prep for this album review was that it'd be an artist/album that I'd never heard. He was right...I ain't neeeever heard of MC Sergio. There's honestly not a lot of info on him so the music will had to speak for itself.
As far as the sound, it's about right for the time (late 80's). Drum breaks, funky loops, the prerequisite club song as well as the song about the lady-killing rapper vs. the man-eater that was almost too much (in the end the rapper always bones). There's also the "I'm the most dangerous emcee" song. Pretty much all of it is here, for what its worth.
Sergio himself sounds like a cross between a young L.L. Cool J (think "I Need Love" L.L.) and a young Chris Rock (Think I'm Gonna Git You Sucka). That's kinda worth a listen on it's own. The beats have a lot of the things that a hip hopper/crate digger would know right of the bat. This isn't a good or a bad thing. I guess that's the biggest problem with this album. Nothing really stands out. The skirt chasing antics of "Sarrona" are amusing, the club song "Here We Go Again" is entertaining for all the wrong reasons. Other high notes include "Nothing But The Money", a set of cautionary tales about being obsessed with money, "Your My Opponent" and "Self Destruct". However, the ideas and concepts on these songs have all been done somewhere else...and more effectively at that.
As we know though, everything isn't for everybody. If your looking for a straight classic you won't find it with MC Sergio, but if you're a hip-hopper that loves the late 80's sound you may just find something to love here.
http://rapidshare.com/files/258594703/mc_sergio_-_making_a_killin___1989_.rar
1. Sarrona
2. The Journalist
3. Wanted Dead Or Alive
4. Here We Go Again
5. Nothin' But The Money
6. Makin A Killin'
7. No Half Steppin
8. Your My Oppnent
9. In The Name Of Love
10. Self Destruct
I give it a 2 1/2 stars out of 4. Or...I would if i had a rating system, some star stickers or something. But you guys came this far with me...use your imaginations! Concentrate! You can see them can't you?? The staaaaaars-
*sigh*
Yea. Me neither.
-Lo
8/28/2008
Freddie Foxxx - Crazy Like a Foxxx (Fat Beats) 2008
Is there anyone that emphasizes hardcore hip hop more than Freddie Foxxx? Forgot all that fake gangster shit that is being spewed on the radio airwaves these days, that shit is straight up garbage. If I want the raw, hardcore rhymes, from a prototypical hardcore rapper, I'll listen to Freddie Foxxx. Freddie came on the scene in the late 80's with his Freddie Foxxx Is Here album, that was released on MCA. This would be during a time that major labels such as MCA had no clue how to market hip hop (and they still don't), and the album ended up flopping something serious (and in hind sight, it wasn't that great of an album). In 1992, Freddie, now with Epic/Flavor Unit, submitted an album to the label, which was titled Crazy Like a Foxxx. At the time, Freddie was coming off a strong appearance on Boogie Down Production's "Sex & Violence" and was a part of the Flavor Unit, lead by Sha-Money and Queen Latifah. The album would ultimately end up being shelved by the label after some lukewarm reviews in The Source. Crazy Like a Foxxx would find itself being leaked on the internet, with rather shitty quality (they were made from the promo copies) versions made their way around the internet as early as '04. That was until just recently, when Fat Beats dropped a two disk version of Crazy Like a Foxxx, with disk one being the original commercial album and disk two being the demo version, which was largely produced by the DITC.
Disc One starts off the track, "Can't Break Away", which starts off an album which has an ominous dark mood to it and the track just sets the serve. It's typical fanfare from the early 90's, which is when the album was made and meant to be originally released. Freddie was never the most lyrical MC, but what he lacked in lyrical content, he made up for in delivery, style and package as his energy level was always sky high. The beat is suitable for for Freddie's hard edged 
flow as he deluges into the ghetto anthem, complete with NY's favorite way to do a hook, which included getting your homies into the studio and have them shout the chorus. Another banger that exemplified the NY flavor during those golden age years, is "Daddy Boot Knock", which is a banger if I've ever heard one. Freddie was quick to tell you if you were fakin' the funk, as he let loose and white rappers, female "tough guy" MC's, and other topics such as "I'm the baddest", which by now we've all heard a million times, but Freddie made that shit sound so rugged and hardcore, you are screaming along with him by the end of the three and half minutes. Disk two actually contains some different tracks than found on the retail version, with tracks like "Man Destroy's Man" and "Pressure on the Brain", give anyone purchasing this collection, their money's worth. The standout track that will have people buzzing is the title track, "Crazy Like a Foxxx", which Freddie goes at the Ultramagnetic MC boys for a line they dropped on "Yo Black" that went something like "“why would you put a Foxxx against an alligator”. Probably not a smart idea, whether it was on purpose or not, which is still under debate. On the track, Foxxx serves beat down pie to Moe Love, Ced Gee and Kool Keith. There are three versions of the track on the collection, with my favorite being on the demo disk.
Production wise, there was nothing mindblowing on the original album, just quality music. Lots of the cliched sounds from the day in age are found. Foxxx is one of those MC's though, that you want to listen what he says, because more than likely, it's going to be somthing outlandish, so production doesn't need to overshine the tracks. Of course the true treats are found on the disk two, with the Diamond, Showbiz and Buckwild treats. "Call of the Wild", which leads off disk two, is classic DITC. The dusty horns, and ill bassline brings the track to life as Foxxx brings one of his best performances between the two disks. "Click Click" features some hard drums that deliver a sinister bassline and gives images of creeping down the block in the dark, looking for either someone to blast, or a cypher to spit in. DITC was famous for horns, and tracks like "The Middle Man" contain those trademark horns. A funky sax sample has Foxxx baggin' on brothers, who are whipped.
What makes this album work so well, at least for me, is the fact that the shit Freddie be sayin, isn't just shit he is making up. You have reason to believe he's either done what he is talking about, or would do it. There is not a fake bone in Freddie's body. He is the epitmy of the hardcore New York hip hop to this day. While this may sound a bit dated by today's standards, it's also more "real" than 99% of the albums by today's standards as well. It's a nice snapshot of hip hop in the early 90's and really a prime example of why most cats over the age of thirty claim hip hop was better and regulary start sentances with "back in my day...."
Bumpy Knuckles & Tupac keep it raw | |
| The Song: In the first single "Killa" from the mysteriously shelved 1994 album Crazy Like a Foxxx, we’re transported back in time to a different era of hip-hop. Bumpy Knuckles and 2Pac’s rawness evoke a New York City where gang violence was at an all time high and many of Bumpy's friends were in prison. There’s no mincing words in the track; Bumpy states, "If they wanna rumble with the Foxxx / Then they get shot." The real treat of the track is 2Pac’s singular voice, still fresh after all these years. |
Killa featuring 2Pac
http://media.audibletreats.com/Freddie_Foxxx-Killa_Feat_2Pac.mp3
DISC 1: JAILHOUSE VERSION
2. Crazy Like a Foxxx (Ultramagnetic dis)
3. Interlude
4. So Tough (video mix)
5. Daddy Boot Knock
6. Project Mice
7. Jailhouse Rock
8. Killa (feat. 2Pac)
9. Meet Some Skins
10. Interlude
11. Shotty in the Back
12. Interlude
13. Funk in yo Brain
14. Step (feat. Chuck D of Public Enemy)
15. Do What You Gotta Do
16. Pressure on the Brain
17. Rev Glock (skit)
18. Rev Glock
19. Crazy Like a Foxxx (alternate mix)
20. Amen
DISC 2: DITC VERSION
1993 Demo Version Produced by Showbiz, Lord Finesse, & Buckwild
1. Intro
2. Call of the Wild
3. Can't Break Away
4. Click Click
5. 8 Bars to Catch a Body
6. Project Mice
7. Rev. Glock
8. Crazy Like a Foxxx
9. Man Destroys Man
10. Pressure on the Brain
11. Who is the Middle Man
12. Cook a Niggaz Ass (feat. Kool G Rap)
Crazy Like A Foxxx album preview
http://media.audibletreats.com/CrazyLikeAFoxxxPreview.mp3
Freddie Foxxx's MySpace page:
http://www.myspace.com/freddiefoxxx
Fat Beats:
http://www.FatBeats.com
6/13/2008
K-Def Presents Beats From The 90's
K-Def
"For Da Family" from "Beats From The 90's"
K-Def
"Jam On It" from "Beats From The 90's"
Dropping Digitally June 24th
The nineties. If you were there for them, you want to go back and experience it all over again. The sounds, the lyrics, the beats, the music, it all was just a special time in hip hop. A lot of us old dinosaurs can't get out of the past, so when something titled Beat's From The 90'scomes across our desk, it gets our attention. K-Def, the author of one of my all-time favorite instrumental/concept albums, "Willie Bobo The Fool", is back with his newest release "Beat's From The 90's". Most of the thirty and over hip hop heads should remember K-Def, who was monumental in releasing a slew of classic records in the early/mid 90's. He was behind Lord of the Undergrounds "Funky Child" and "Chief Rocka" along with "Grand Groove" from Tragedy's "Saga of a Hoodlum" along with the whole Real Live album. K-Def has long been greatly underrated in the grand scheme of things as far as his production goes. There was the World Renown album that has never seen a proper release, a bootleg version of Nas' "Street Dreams" produced by K-Def that is amazing, and other tidbits found here and there that lead us to believe that he had some music in the vaults that we had yet to have heard. That was until now. K-Def has pulled some tasty treats out of the vaults and released them in the form of "Beats From The 90's".
The project is strictly of the instrumental variety. You won't find any rhymes being dropped or skits or any of that nonsense, it's just straight up beats with the sound that you grew up loving in the 90's. The premise of this project is that these tracks were produced back in the 90's on K-Def's MPC 3000 & his S-3000 machines. They were lost, only to be rediscovered in a bag of dusty dats. You immediately realize that you are in for a treat when you the albums first track,"Been There", kicks in. The nostalgia that oozes out of the tracks bassline and strings are on the level that could bring a tear to any hard core b-boy. The track is pieced together with several familiar, yet sonically altered sounds. Before moving on to "Ain't No Crime", if you don't have top notch headphones, car stereo or computer speakers, push stop and go get some, because to fully appreciate the track, you need to "feel" this beat. When it kicks into the intro, you swear it's going to be a DITC knock off, but then the bottom kicks in. We are talking thick, gooey kick drums. The shit is the kind of knock that Redman used to talk about, it would bump in the trunk something furious. That's just what this album is too, that good old fashion boom bap. Another personal favorite of mine is "Gettin' Hot", which K-Def uses some familiar samples, but you have to remember this was recorded back in the 90's, so he kind of beat cats to the punch on some of these, with a beautiful guitar sample, it's rolling bassline, a true head nodder. "For Da Family" sounds like it could have belonged on "The Turnaround...", and I'm not talking reject material either. The thick and chunky "Jam On It" is another with rolling bass that supplies that boom-bap feel. Listening to this album makes one wonder what could've been with some of the right artists over the tracks. Going through the album, you'll hear beats that make you wish so-n-so got over on the track. "Inner City Blues" immediately made me think of Redman and how dope he would sound over the track. What could have been?
I can't really find a knock on any of K-Def's beats or Beats From The 90's. Obviously some are better than others, but that's not a bad thing at all. I'm not usually the biggest fan of instrumental albums, although I do like finding a good one and putting it on while I'm writing or playing the Playstation, but this album is not your average instrumental album. Beats From The 90's just brings back that feeling of why I loved hip hop in the first place. The loud drums, the thick deep bass, the sharp snares, it's all found on this album, and it's all done with precision and it'll having you wishing it was '94 again.
9/23/2007
Review Sunday: When They Reminisce Waking Your Daughter Up and Jay Eff Kay
Damn, me again? No shit, I'm about as sick of seeing me up on here as you guys probably are. Might be a day off or two upcoming this week. None the less, for some reason I know I was supposed to re-up some stuff for people, but my forgetful mind isn't letting me remember all of them. So far I got Omniscience, Hydra Beats 11 & 14, and Scientifik - Most Blunted, written down as upload things. If I have said in the past couple weeks that I'd re-up something and haven't yet, politely remind me and I'll set a day aside (probably Wed.) and re-up things. So this is your chance, if you want something re-upped, tell me now.
Special Teamz - Stereotypez (Duck Down)
Trav: Special Teamz "Stereotypez", I have to admit, I've been anticipating this release since they announced it over a year ago.
Eric: Really? I never realized that Slaine was the same cat of "The White Man Is The Devil" fame. I passed that up a lot, thinkin' he was on some "Necro type shit". Dude's kinda' nice!
Trav: I didn't either originally, he is also in that La Coca Nostra stuff coming out. Me, I was always kind of high on Jaysaun.
Eric: Yeah, Jaysaun is definitely nice...he was on Marco's "Port Authority" right? Has he dropped a solo joint yet?
Trav: Yeah, he had a cut on Marco's album. He hasn't, but he has released a couple albums as the group "The Kreators", a Boston group in the late 90's and I think they dropped something last year as well. They are a pretty good group.
Eric: As big a legend as Edo is it seems as if he's taking a backseat on "Stereotypez" to Slaine & Jaysaun
Trav: Do you mean in quality of lyrics or less mic time?
Eric: Both
Trav: I thought he was the same Edo, but I did find myself paying more attention to the other two MC's.
Eric: Yeah, Slaine's performance is gonna' have me searchin' for "White Man...." & "Citizen Caine". Although, he spits some "vivid" shit. He makes Necro look like Nelly in terms of delivery, depth and presence.
Trav: He's much better than Necro in my humble opinion, but I've never been much of a Necro fan. There is some good stuff on here and some not so good stuff.
Eric: Damn, I was hoping we'd disagree on this one but "some good stuff on here and some not so good stuff" are my sentiments exactly....
Trav: I do find myself liking it more as I listen to it. There is some good old traditional boom bap on here.
Eric: They kinda' run the whole "stereotypez" theme into the ground after awhile though, huh? I'd have to disagree with the whole "whiteboyz got the littlest dicks" thing.
Trav: The track itself was cool, but that beat was garbage. Never been an Ill Bill fan either, who produced the track.
Eric: Yeah, it seems as if Ill Bill is about to have himself in a world of shit with the recent leak of his track titled "white Ni*ger"...not gonna' make to many fans with that one.
Trav: I haven't heard it. As far as that track goes, its kind of been done before, on Louis Logics album. What did you think of the Pete Rock track?
Eric: "Boston To Brooklyn" featured a decent lyrical performance by all the emcees featured, but P.R.'s production wasn't anything that we hadn't heard from him before. Sounds like a leftover from "Petestrumentals" to me
Trav: Fuck....kind of what I was thinking. I'm going to have start making shit up...haha. So who is this Young Cee who has the most production duties on this?
Eric: I don't know, but I was hoping that you'd mention Xplicit's production on the Devin featured "Long Time Comin'" and how dope is Jaysaun's verse on that shit? That beat is bound to snap a few necks, I feel that it's above and beyond any other cut on "Stereotypez".
Trav: Really? Finally something we disagree on. Because there are sevral tracks I enjoy more than that one by a long ways. "Get Down", "Three Kingz", "Classical", just to name a few.
Eric: You named 3 outta' the first 5 cuts on the album as your faves...the last half of the album must've dragged out for you.
Trav: Yeah, some what. I liked some of it, but its got two of the tracks I can't stand.
Eric: I'm anxious to hear what they are? Please don't tell me that "Race Riot" is one of them!
Trav:
"Story Of My Life" and "Gun In My Hand". Nah, I like "Race Riot"Eric: "Gun In My Hand" sounds way outta' place on this shit, I was like "what in the hell is this shit?" Ill Bill shoulda' kept this for "Black Metal" ( which I couldn't even make it through). Holy Shit.."Story Of My Life" is not a good look for Slaine either is that Frankie J on the hook?
Trav: I don't mind guitars and screaming (Ice T and PE and Anthrax were big on me), but that just didn't sound good. Yes "Story of My Life" is bad. I always say I don't mind an R&B chorus if its done right, and this is a perfect example of not being done right.
Eric: Jesus, Jake One is grindin' out some HEAT!! "Fallen Angels" kinda' has the whole "Rock Co Kane Flow" vibe....damn, I love the production on that shit, I could do without the hook....still, another strong cut on "Stereotypez". Again, Jaysaun kills it on this one
Trav: Yeah, Jake One is steadily moving up my list of favorite producers. I'd love to hear a whole album done by him. Yeah, Jaysaun is ill as fuck on here....this track is just fuckin' dope. I'm not big on the sung chorus though.
Eric: I didn't he do some shit on 50's "Curtis" as well. I think one of the tracks was with Mary J. and I know for sure that he did another beat on that shit. Next to "Still Kill" the best beats on 50's shit.
Trav: Yeah, he did, not sure which track, I haven't given the album that many listens. You have any different choices of bad songs?
Eric: Ahhh, fuck it....I like this album a helluva' lot more than I dislike. Would have been a more complete album had they cut the tracklist down to say.....11-12 tracks. Primo's beat on "Main Event" was nothing to write home about, but the emcees rarely come with some bullshit on "Stereotypez". There's a lot of different "looks" on this album which I prefer rather than an album that lacks a real identity or sounds too mapped out like "Dead Letter Perfect".
Trav: The more I listen to this album, the more I like. It's just HIP HOP, no garbage gimmicks, no garbage trends...just good old fashioned hip hop. I think this is going to really grow on me.
Eric: Yeah, I know what you're saying. Just sitting here listening to it while we discuss it makes me want to sit down and listen to it while playin' Madden....to bad "Dirty Acres" leaked!
Trav: I have a feeling that could be coming up soon on here...last thoughts?
Eric: I'd rank this one up there alongside "Dream Merchant II" both albums could have dropped some dead weight and the end result would have been even greater.
Trav: I agree, for the most part I really like it 7.5 out of 10
Eric: Yeah an 8 would be a little much, I'd buy "Stereotypez" on the strength of the lyrical performances by Edo, Slaine & Jaysaun. What was your absolute favorite cut on the album though?
Trav: I'm not sure I have one single favorite yet, a handful of them battling for that spot. At first it was "Get Down", then Classical....the list goes on.
Eric: Good enough.
Trav: Buy the album.
Jay Eff Kay - America: Suicide Notes Vol. One
http://www.myspace.com/jayeffkay
http://www.johneffkennedy.blogspot.com/
According to the legend, New York MC Jay Eff Kay left his job as a high powered lawyer for a career in the music biz. Now some might question the logic in that, but I have a feeling Jay Eff Kay would probably give a rats ass about what others thought. Straight off of the the "White Rapper Show", Jay unleashes his album "America: Suicide Notes Vol. One" on to the masses.
It would be easy to after an initial listen to write this dude off as an Eminem duplicate who's sole purpose to shock people and follow the blueprint of other outspoken MC's. But Jay is much deeper than 90% of hip hop artists out there in this day in age.
He is definitely one of those MC's that you really need to listen to his lyrics to get the entire jest of what he is all about. On the albums lead off track, "Welcome To America", Jay drops sarcastic lyrics on the state of America. He mentions all the fucked up issues going on in the country, but still tells it like it is as the "greatest country on earth":
USA!
we got crackwhores!
we got white poor, black poor!
the backdoor
is where we taking it in this Iraq war
the troops? pooped.
so are the reservervists
you're nervous selective service'll resurface
you don't wanna get blown off this earth by insurgents!
40 million folks got no medical insurance
we got terrorists threats & credit card debt
from the cheap Chinese shit we get at target
but who cares? there ain't no nation cooler than
this country fulla pimps
punks, and hooligans
tail gaits, jail bait, beer bongs, blond who wear thongs
the home of Homer and the homer and daytona beach & freedoms
cheap guns free speech & threesomes
and barbecue; the chicks look like barbie do
but with da big plump bubblebutts
cuz round here all the oreos come doublestuffed
[Chorus]
This land is your land is your land;
this land is my land
if you don't like it, you can go the fuck to iran
now everybody give a shout
ladies whip your titties out
USA! it's my home...
In your front yard, this retarded kid sniffs a jar he farted in. Grandpa's getting hard again; you can see his pecker poking thru his cardigan! Just then daddy barges in, says mom fucked the garbageman, grabs some ammo off the mantle shoots her while she's gardening!
ap. He comments on remembering the days when rap was dangerous, and you know what? He's right, shit isn't very "scary" any more. The music also fits the song particularly well on the cut with loud horns and menacing drums.Jay's strength lies in what he has to say. His lyrics and his views are what make the album. For this type of MC, you want to hear what is being said, so you don't want beats to detract from what is being said, either in a good way or a bad way. The knock I have against "Suicide Notes", is some of the beats are not up to the lyrical play, meaning, they could be better soundscapes to paint his lyrical pictures on. On the track "F*ck The World", some scathing lyrics are muddied by a pretty bad synth beat. "Skankapotamus" fails on all fronts.
In all honesty, I wasn't particularly feeling this album the first few listens. Its something you do need to sit down with and really "listen" to what is being said, only then can you appreciate what is being said. The album does have its faults and not everything Jay Eff Kay has to say is particularly funny or worth while of saying, but Jay comes from a different angle that is so much more than the initial Eminem comparison that many people are going to make when they first hear the album. Some better production and Jay could make some noise in the future. There is definitely a market for someone like Jay Eff Kay.
9/08/2007
When They Reminisce Waking Your Daughter Up
Roger Ebert & Gene Siskel made a living off the team concept of reviewing movies. After the untimely death of Siskel, Ebert when on to team up with Richard Roeper and the two continue to review movies weekly and I'm sure making a decent little pay check while doing it. One of the great things about watching Siskel and Ebert review movies came from their quite divergent tastes in music, which led to some great arguments while reviewing a movie. It made for good TV.
How this is going to work: On a rotating weekly basis, one site will host that weeks reviews. The host blog will pick two albums for the weekly reviews and the two of us will sit down and discuss the albums, then hopefully insanity will follow. This week we were rather tame toward each other, but we're just getting warmed up. We hope it makes for good reading, I think the two of us share a lot of the same historical sense of the culture, I'm a tad older, so I have three or four years on him, but that shouldn't matter much. Most of the material we review will be new releases or stuff that has been sent to us from A&R's, Labels, or Artists themselves (we both get a handful of albums a week these days). We might sneak an older album in every once in awhile, especially if its something that we know we have conflicting views of.
This being the first week and being my turn to pick the albums, you know I had to sneak this "new" album. There are plenty of suspicions that this is not actually from '88, and I tend to believe that as well, although you could bring up valid reasons for both arguments. What matters is that if this is really a clever marketing scheme, its still a DOPE (a little '88 vocab for ya) album. In case you have been living under a rock...or just haven't visited many blogs, here is the low down for the album:
"Introduction: 17 years ago a small recording studio, TOP
SHELF, located in the basement of a brownstone in the East Village section of New York, was looted during the Thompkins Square riots of 1988, displacing the recordings of many soon-to-be Hip Hop stars. The studio had been the meeting place for many rappers, neighborhood kids, and producers that would later be responsible for the greatest period of the Hip Hop age, "The Golden Era." A search commenced soon after the recordings were lost, but nothing was ever found. So sought after were the tapes, they soon acheived Holy Grail status amongst Hip Hop circles. Despite years of searching, and dozens of hopeless crusades, the tapes remained lost. No one was quite sure who took them or where they were... until now.After an extensive investigation and search that lasted two years, the recordings have finally been recovered by Fab 5 Freddy and myself (Benjy Grinberg). They were found dozenss of miles from the site of TOP SHELF in an abandoned strage faciilty in North Jersey. ...We sought after the lost recordings of TOP SHELF because they were rumored to be among the hottest songs from that era, and we thought it was a tragedy that the world never got to hear them. It turns out that these two-inch tapes are truly a treasure chest--a time capsule of the energy and excitement of 1988 Hip Hop."
Regardless of the debate, the album is very well done....shit, why am I telling you this now? Read our opinions on this album.....
Eric: Whatcha' think about that Top Shelf joint?
That Doug E Fresh ("It Ain't Nothin'") shit was nuts!!!
Trav : The "mythical" lost album pops up on the scene after years of supposed searching. The Doug E was pretty dope, it was good to hear him kick the party vibe like he used to.
Eric: I thought it was Greg Nice for a minute
Trav: I was all about the Biz's track, "My Name Is". Reminded me of why I loved Biz back in the day like that.
Eric: Yeah, you're right, that surprised the hell outta' me as well. I've never been a big fan of Biz either.
Trav: I'm still not sure what to think about the legitimacy of this project.
Eric: Meaning?
Trav: Do you really think this album was made in '88? If it isn't, they did a pretty good job making it sound authentic enough.
Eric: I don't know, some of that production sounds very dated (but still sounded real nice)...you just don't hear cats rhymin' over BPM's that uptempo anymore.
Trav: But the quality just sounds..... Almost too good, too polished to be lost for the last 19 + years.
Eric: Yeah, the Dres/Black Sheep ("I'm The One") joint is suspect, it's also waaay too short.
Trav: I agree, that Black Sheep joint needs to be longer, but damn, Dres and Black Sheep in '88? I've never even read anything about them being around during that time. I could be wrong, but they would have been unknowns in '88.
Eric: Yeah, you got a point there. I don't think that Kane joint ("Like That Y'all") was from '88 either.
Trav: Really? I thought it was, because his tone changed over the years and the tone he has on that cut sounds like the '88 Kane, plus he sounds better on that track.Eric: Awwww....no way!
Trav: yeah, listen to "Looks Like A Job For" then listen to "Long Live The Kane", Kane sounds different and this sounds like the "Long Live The Kane" Kane.
Eric: Man, that's pushin' it, but his flow does sound similar to the flow he had on "How U Get A Record Deal"?
Trav: Yeah, the flow does, but his vocal tone though sounds like the late 80ish Kane.
Eric: Wasn't the beat used for Kane's joint from "Come On Down" w/ Busta & Tip that was on "Prince Of Darkness"?
Trav: Shit, I don't know, I avoided that album like the plague.
Eric: Awww....."Brother Brother" w/ the Barry White sample was and still is one of my all-time favs. BTW, Do you ever remember Caz & Melle Mel spittin' "lyrics of fury"like that?
Trav: Yeah, that was another example that made me think this album isn't exactly from '88, although they were both beasts on the mic in their own right.
Eric: I know you love Ace, is this the '88 version of him on the album?
Trav: Hmm.....I'd say no, he sounds like the more advanced Ace
Eric: I think that one's too close for comfort. The subject matter similar to some of the raps from the same time period in '88, rappin' about po' po' beatdowns kinda' dates it.
Trav: Yeah, you're right, it is, but then again...shit I don't know....listening to it now....I don't know what to say about that track, it could be the Cold Chillin' Ace. I like it though, the beat is kind of basic, but it works.
Eric: You can't tell me that was an 88' Smooth B. You would have never heard him without Greg Nice in those days
Trav: Yeah, that was another one that made me think it was newer. Plus Smooth sounds better than he did in those days.
Eric: Sounds better? No way, that's probably my least favorite cut on the album
Trav: I mean as an MC. Let's fact it, he was never a great MC, but I'm just saying he sounds more polished than say his earlier material on Sleeping Bag. He always sounded awkward on those joints with Nice & Smooth, but his solo stuff later, he sounded better (that doesn't mean good).
Eric: Greg Nice wasn't exactly Nas himself. Listen to Smooth B's chorus again, that's some funny shit
Trav: No, you didn't listen to Nice & Smooth for the lyrical prowess. Yeah, it's kind of a corny chorus, but you expect that and enjoy that from a Nice & Smooth related project.
Eric: Ha Ha! Greg Nice said "Dizzy Gillespie plays the SAX" when he actually played the trumpet.....classic shit right there from a nonetheless entertaining duo
Trav: "I guess he "could" play the sax", that's what Nice said later, uh-huh, yeah sure. He might have, but I'm not sure he knew that originally. I love that beat on the Biz's joint.
Eric: The Biz….. Who did the production, Cool V? Hell, I think he did the beat on that Kane joint as well, I remember Kane givin' him a shout out near the close of the trackEric: How can we forget about Chubb Rock? "Jump, jump with the man, with the plan….Chubb Rock"!
Trav: Chubb is the shit, although I'm not sure about this song yet. I like Chubb's vocal, but....shit never mind, I'm liking it.
Eric: All the beats on the album are CRAZY uptempo. Uncle Luke could've thrown a "Doo Doo Brown" adlib in there and called it a day
Trav: I think I'm going to do a "kick step", with this Chubb track, "Chubb Rocks The Party".
Eric: Don't even knock Kid N Play!
Trav: I' m not, it makes me want to do that Kid n' Play kick step, the beat just makes you want to cut a rug up.
Eric: That's right, I was about to say….
Trav: I bet Hot Dog went to town on this shit
Eric: Ha Ha, yeah no shit. Hell, even the Jungle Brother
track("Back In The Jungle") had me dancin' in the shower....(that's when I first listened to the album) perfect album to get your day goin'. Real good to get the blood pumpin. The hell with Folgers, give me "Top Shelf"!!Trav: This album makes me miss the old school shit...since you know, we are golden age geezers or whatever that dude called you on your blog.
Eric: That Jungle Brother joint makes me want to go back and listen to their old stuff. Afrika & Mike G always had dope ass voices and flows, I just never really checked for them after hearing em' on the "Buddy" remix
Eric: By me saying "go back and listen" to their old stuff translates into "I need to dl it , cause' I've never owned any of their albums, even on tape back in the day
Trav: Yeah, I never did either. I'm sorry though, you can't tell that 95% of the shit out now a days is anywhere as good as this stuff
Eric: Just talking about this album is making me appreciate it more for it's…… hmmm, what's the word I'm lookin' for???
Trav: Nostalgia?
Eric: Word! Oh, and another thing…wasn't the Just Ice joint mad short? I don't even remember hearing it
Trav: Yeah, that track,"I Run The Streets", comes in 1:32, yeah, but that was another reason I thought it might actually be from '88, that sounds like Ice from back then. What's your least favorite joint?
Eric: There's nuthin' that really hinders the album, maybe Lyte's joint, "Listen Up" .
Trav: I like the beat, but it was used on Positive K's album. I'd probably go toward the Special Ed as my least favorite, it's not bad, but I don't think its the same quality as the rest of the album.
Eric: Now way, not Special Ed.
Trav: Not saying its bad, but it's probably my least favorite
Eric: Although, the chorus on his joint is kinda' lame
Trav: The beat doesn't do much for me.
Eric: That Puba cut ("Let's Go") sounds like it was a leftover (in a good way) from "Reel to Reel". It's most definitely on some SD50 iddish.
Trav: Yeah, agreed.
Eric: Just us converstatin' about this, I think I'm going to fall asleep with this in my headphones tonite.
Trav: This is some quality golden age shit.
Eric: What have we not touched on?
Trav: Craig G's "Catch A Lyrical Beatdown"?
Eric: That's right, never been big on Craig G "The Kingpin" other than Marley's remix of "Droppin' Science" but this truly does have that genuine, old school feel.
Trav: Craig G was always the weak link to me in the Juice Crew...meaning my least favorite. I think he also lacked the charisma that the others had.
Eric: To me this sounds more like a early 90's album rather than '88.
Trav: Still not sure, Craig G mentions Cold Chillin' in a positive light, which wouldn't have happened after about 90, 91.Eric: He does say "Signed to Cold Chillin", bam, there you go.
Trav: I'm still not sold all these are from '88 though.
Eric: Some of the beats sound a little "too advanced" for '88, but not much past 92'. I think that'd be pushin' it
Trav: I'm not sure, the Craig G sounds like a classic 45 King beat, so its so hard to say. Marley was pretty advanced too for that day in age.
Eric: yeah, just peep Uncle L's "Jinglin' Baby" remix for evidence of that.
Trav: Oh hell yeah. For a compilation, it sounds pretty cohesive, like a lot of the same producers did it. I'm guessing we both agree that this is a quality release. Good luck tracking it down, since its a Japan only release.
Aesop Rock - None Shall Pass
Aesop Rock's material has never been one that was viewed in positive light. Basically I thought he was garbage. When Eric started pumping up his new release, I had not yet heard it and figured this would be a GREAT way to get the fireworks going, only, it kind of back fired on me. I ended up actually liking the album.Eric: Aesop's real name is Ian Bavitz per Last fm
Trav: I read that shit, good little Jewish boy. Aesop is getting some heat for this album in some of the major publications, like Spin, Rolling Stone and that shit. Not that anyone who is into Hip Hop will pay much attention to those mags.
Eric: What do you mean heat? Is he getting good or bad reviews?
Trav: Bad reviews, if you consider three's bad.
Eric: Three out of 10?
Trav: Nah, three out of five.
Eric: Where does it stand for you when you compared it to El-P's "Ill Sleep..."?
Trav: Well, for now, not as good, but they remind me of each other in more ways than one. I don't know if I like this Aesop because I was expecting the worse or what, but it's better than most of the stuff I've heard from from him.
Eric: Yeah, I picked up "Bazooka Tooth" when I was in Iraq, just on the strength of the Camp Lo cameo. When I first heard it I was like "awww, hell no, what is this??
Trav: I don't know what is wrong with me though, liking El-P then this Aesop. I disliked both and pretty much all Def Jux stuff from day one. Yeah, they are both...umm an acquired taste. I wanted to pull my hair out most of Aesop's past albums I have heard in the past. Its mostly HIM, the beats were never all that bad.. They were kind of weird, but I like weird. But sometimes, an MC bugs me so much, that despite the beats being at least good. MC's like Aesop Rock and Esoteric are two MC's that I could never handle, no matter who's beats they were on.
Eric: No doubt, you really have to "pay attention" when listening to his lyrics. At times hard to grasp, but he can spit no question about it.Trav: Yeah, I think the gibberish just got to me, that coupled with his weird flow...just never did it for me.
Eric: Fo shizzle, as far as the beats, "Getaway Car" is the highlight of the album, hands down.
Trav: Yeah, I like "Getaway Car". It was dope with Breezly Brewin showing up in the track.
Eric: I knew you'd love that shit, being you're so big on "Use Your Confusion".
Trav: I was shocked actually when I first heard that. I guess it makes sense, being from NY, but didn't see an underground cat like Breeze being on an Aesop album, but then again, Camp Lo was on the last album.
Eric: Do you know who produced it?
Trav:I'm taking a wild guess here, but I'd say Rob Sonic. That's what we get for "previewing" the album, but this album is a perfect reason why I download shit. No way in hell I would shelled out money to hear this album. Now Aesop has a good chance of me buying it.The beat sounds like some of the stuff that was on Cage's album though, who was also on the track.
Eric:Trav, did you hear, "Pigs", which is the bonus track after "Coffee"? Man, that shit is crazy. It's really nothing but some hand claps and a smooth guitar lick, but it's real nice.
Trav: Yes, it's a dope hidden track. Sounds like some bluesy shit. "I Know thats one ugly fucking tie, asshole...." hilarious from "Pigs". He says some funny shit on that track.
Eric: That's the only beef I have with Aesop in particular, he's really hard to follow at times. Maybe it's just me, I'm thinkin' too slow.
Trav: No, not just you, that was my beef as well.
Eric: I really liked "Pigs", plus, "Coffee" itself was one of my favorites on the album. I'll tell you what, "Coffee" sounds as if it was backed by a live "rock" band or something. It's on some really, if you will, "Def Jux bounce"? Those tracks, the double track (Coffee & the bonus "Pigs") is a helluva' strong finish to the album, which at that point...it really needed...would you agree?
Trav: I love both of those tracks. "Coffee" ends shit off on the right note, I'm digging that shit big time but let me ask you this, why in the fuck do they put two great songs like that together??? They are "one song" as far as the CD is concerned. There was a song like that on Atmosphere's "Seven's Travels" and I think the Roots did something like that to. It bugs the fuck outta of me.
Eric: I know what you mean, even on the advance of Blu & Exile's "Below The Heavens" had something similar to that, but they were sequenced different on the retail, but I know most cats out there are still bumpin' the advance. It does makes for a bad mix CD though, huh? Especially, if only one of the tracks knocked.
Trav: Exactly
Eric: I actually let that double track play in full on my way home from work yesterday. It totally caught me off guard, and the hint of subtle vocals in the background is a nice touch to the guitar and bounce if you will. On some rock shit as I said before.
Trav: There are a couple tracks like that on here. I got an old rock feel from the first track "Keep Off The Lawn", like Pink Floyd or some shit. I'm not sure I have a favorite yet. Thats where it reminds me of the El-P album, it's something that you almost have to play at one sitting to get the whole "feeling" of the album.
Eric: If you check my "def jux" bashing a few months ago, I ripped El-P's joint up one side and down the other but I would seriously place "Poisonville Kids No Wins" as one of my tops cuts of the year. That beat,well, it's really just an acoustic with no bassline, it's just crazy, real epic shit
Travis: Def Jux beats in general are usually kind of "weird", espeically El-P. I usually can't handle his shit. It sounds like howler monkeys in a garbage can getting beat with a baseball bat.
Eric: Surprisingly, as you mentioned the beats, on this album, they really impressed me and this is comin' from someone who has never owned anything from Def Jux.
Trav: I'm not sure how many beats El-P did, but usually Aesop has different producers than most Def Jux releases.
Eric: Some of the producer names on the album threw me for a loop. I'd honestly never heard of "rob sonic", I can see the nike dunks and backpacks flying my way now. Didn't he make death metal??
Trav: Shit, he could have for all I know.
Eric: Nah, that's Rob Zombie
Trav: He should do a track for Aesop. There are some "rock" influenced tracks on this it seems like. I guess thats the Blockhead production.
Eric: The track that really hipped me to this album was the title cut "None Shall Pass", I'd never heard Aesop spit on anything like that prior to hearing the advance.Trav: I was going to ask you your take on that track. I'm not sure what to think of it. It kind of sounds like some New Wave 80's shit or some love scene from a John Hughes 80's movie or some shit. Not that is a bad thing.
Eric: Without a doubt, it was my favorite track on the album "initially" but it has been far surpassed by "Getaway Car" & "Catacomb Kids". Trav, what in the hell is a "Catacomb Kid" anyway?
Trav: I think I like it (None Shall Pass track), but damn, its just so weird. I agree with the "Catacomb Kid" that shit is kind of cool as well. According to Wiki, Catacomb's were some kind of Ancient burial ground in caves and shit. Sounds like something most MC's rap about, he is so unoriginal.
Eric: "Knock em' out the box Aes, Kn-Kn-Kn-Kn-Knock em' out the box Aes"...my highlight of "Catacomb Kids"!
Trav: Of course we would both gravitate to the old school references. The middle of the album kind of starts to blend together, that would be my major beef with it so far.
Eric: No, I'd have to disagree with you there, the album starts to take a decline shortly after "Getaway Car" well. I guess your right, track 7 (getaway car) would be the middle of the album, but you'll never here me say "you're right" again! Milk!
Trav: Yeah, "39 Thieves", "The Harbor is Yours" and "Citronella" all kind of sound the same to me. Not my fault your lactose intolerant.
Eric: Not to get off the subject here but that albums has received a quarter of the downloads that all the albums I've posted this week have. Craig Mack = 300, Milk = 44.
Trav: Cause everyone already owns Milk! I take my original statement back though, I kind of like "Citronella".
Eric: Yeah, the "..kill the television.." sample is dope, that's Krs right?
Trav: Yeah, from "My Philosophy".
Eric: What about the second track, "Bring Back Pluto"? I kind of liked it, the groggy bassline and the staggered sample piece the song together quite nicely.
Trav: Naw, I'm not feeling that song, that is the weak link in the first six songs
Eric: Did you ever hear "Bazooka Tooth" or "Labor Days"?
Trav: I've heard both. I'm still trying to clean my ears of "Bazooka Tooth". I've heard bits of "Labor Days", but I heard it after I heard "Bazooka Tooth", so I didn't pay much mind to it. Although many people have told me to really sit down and listen to it.
Eric: You mentioned earlier that the album has received a few "skeptical" reviews but check this out http://www.hiphoplinguistics
Trav: Whoa...I wouldn't say that. I'm not even totally sure I like it yet. I mean I do, but it's hard to accept I guess
Eric: I'd put "Getaway Car" in my favorite songs of the year. Do you have any cuts from the album that would merit the same placement?
Trav: Not yet..."None Shall Pass" might either drive me nuts by the end of the year, or I might fall in love with it, the track that is
Eric: Damn, those last two tracks, I foresee a lot of play this weekend for those two.
Trav: Yeah, I'm playing "Coffee" right now, shit's dope. What's your take on the El-P cut?
Eric: I mean, no doubt Aesop & El-P make white rappers look good lyrically but two complicated (but still ill wordplay) emcees are just a bit much for my a.d.d ass to comprehend especially when spittin' over an average (being generous) beat.
Trav: I still don't think El-P is all that gifted lyrically, but so be it. Aesop, well, I'm not sure either. I will say this, he seems to have slowed shit down a little. I'm able to follow what he is saying and surprisingly enough, it's not all gibberish he is spitting, he is actually spitting something worthwhile.
Eric: Bottom Line, best lyrical performance on the album belongs to Breezly. Dude says "dummin' out" in like every track he's on, I love that shit! So slept on!
Trav: We all know how I feel about Breeze as an MC...haha.
Eric: I was playin' "30 Something" on the way to the movies on labor day with my wife. She was like "damn, that shit's dope!" Well, really she said "That song has a good beat" in a non-threating manner.
Trav: Yeah, don't get me started on my love for that album.
Eric: So gimme x outta 10 for a rating....or your "panties" rating I should say?
Trav: I didn't do that on the last ones. Well, its kind of difficult. Like with the El-P album, it took me a couple weeks to get used to it. One day I just heard it and said, "this shit is fuckin' nice". I see that happening with this album. It might take me another week, but i could see this creeping into some major rotation on my listening habits. Right Now, I'd say 6.5 or 7 right now. And you?
Eric: Well, believe it or not I was gonna' say 6.5 myself. I think that I speak for you as well in saying this but.....we both got a little more than we bargained for with "None Shall Pass". Hell, I downloaded the album just out of curiosity. My past experience with Aesop is much like your past Aesop Rock experience, it was heavily tainted. When I first heard the opening three tracks on the album I was able to put my "def jux" prejudices aside and give this one a chance. Who would have thought my friend? We're gonna' give some shine to the label that was on your dilznick a few months ago!
Trav: We'll see. I'm still not a "fanboy" but stranger things have happenedEric: I will say this about Aesop Rock, his material is definitely an "acquired taste". I just wanna add one last thing in regards to Aesop Rock's "None Shall Pass","this promo copy belongs to Magnown Wosh"....hahaha. You got anything else to add?
Trav: I'm not sure how I feel about liking this album. I thought the El-P album was hard enough to deal with liking and now this. I'm starting to question my hip hop credentials. I'm going to go listen to some Primo shit.
Eric: Maybe it's the age thing??
Trav: It's kind of like realizing you like nerdy girls....you have to go bone a cheerleader to make yourself feel okay.
