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It's been awhile since we've done a "This or That", that all popular series where we debate the classics in the hip hop history. We've pit classic albums against classic albums, usually by the same artists, just so it has some kind of relevance in the comparisons. I thought this time around, for time purposes and my own general curiosity, we would feature songs this time around. Actually it's the same song, the original version and the remix of that said song. What song am I speaking about? Well, I had a couple songs in mind, one we'll save for a later time, but this week, we'll be discussing the Method Man song, "Method Man".
Wu-Tang Clan - Method Man(Enter The 36 Chambers, 1993)
Meth's self titled song first appeared on the classic "Enter The 36 Chambers", in 1993. It was Meth's solo introduction to the world, as it was the b-side to the Wu's first single "Protect Ya Neck" that dropped a good four to six months before the album was released on Loud Records. From the early interviews, Method Man was the general consensus of containing the most charisma from the bunch, which lead to the idea of giving him a chance to shine on the solo tip.
Undoubtedly, you've heard the song a few hundred times in your life, if not more. Myself, I was immediately blown away the first time I heard the song. I had snagged the cassingle after reading about this new hip hop group that was ready to take the world by swarm in The Source magazine one month. It was a few months before the album dropped, sometime late that summer. While I thought "Protect Ya Neck" was a great song, "Method Man", hooked me and I wouldn't stop playing it for a good year. Soon enough, the single would have it's own video as well, which would made the song even more powerful.
The production is classic RZA at the time, and one of the reasons why RZA is considered one of the five best producers to ever touch the boards. The sparse keys, rumbling bass, the dusty flavor, it all adds to the appeal of the track. Of course Meth just does his thing lyrically. I would spit word for word along with the rhymes, entrenching Meth as my favorite Wu member and one of my favorite MCs at the time. With his slow and deliberate drawl made it easy to memorize the lyrics, which were catchy and memorable in the first place:
Hey, you, get off my cloud You don't know me and you don't know my style Who be gettin flam when they come to a jam? Here I am here I am, the Method Man Patty cake patty cake hey the method man Don't eat Skippy, Jif or Peter Pan Peanut butter, cuz I'm not butter In fact I snap back like a rubber band, I be Sam, Sam I am And I dont eat green eggs and ham Style will hit ya, wham!, then goddamn You be like oh shit that's the jam Turn it up now hear me get buckwu-wu-wild I'm about to blow light me up Upside downside inside and outside Hittin you from every angle there's no doubt I am, the one and only Method Man The master of the plan wrappin shit like Saran Wrap, with some of this and some of that Hold up (what?) I tawt I tat I putty tat Over there, but I think he best to beware Of the diggy dog shit right here Yippy yippy yay yippy yah yippy yo Like Deck said this aint your average flow Comin like rah ooh ah achie kah Tell me how ya like it so far baby paw The poetry's in motion coast to coast and Rub it on your skin like lotion What's the commotion, oh my lord Another corn chopped by the Wu-Tang sword Hey hey hey like Fat Albert It's the Method Man ain't no if ands about it It's the Method
It's a song that The Source included in their top 100 Hip Hop Singles of all-time this blog, particular me, had it ranked at #28 on my all-time favorite songs list. It's an excellent introduction to one of the more important MCs and groups to grace the hip hop landscape (no matter what Joe Buddens says).
Method Man- Method Man (Remix) (Tical, 1994)
Like a high grossing movie needs a sequel, every hot song needs a remix. In the early/mid 90's, a "remix" was a little different. The term and idea hadn't been corrupted by the concept of putting a bunch of hot artists of the moment and rap over the same beat. Puffy would introduce that idea of a remix a few years later with "Flava In Your Ear". Nope instead, Method Man and the Wu-Tang Clan would come with a new beat, although similar to the original and new lyrics. Tucked in at the end of the "Tical" album, the song originally appeared on the on a couple promos, one as the b-side for "The Mystery of Chessboxin" and another as it's own original promo.
The "new" beat incorporates a lot of the original ideas and sounds, with the sparse piano key sample making an appearance. They seem to be louder and somewhat altered in tone and pitch. In some ways I would almost say it's a slightly darker beat than the original with some Bomb Squadish trills and weird sounds going on the composition, basically it's a lot busier beat. It basically oozes that nasty funk that made me love Erick Sermon production during this same time period. RZA did the same type of thing, but with that Kung-Fu type of flair to it.
While I don't know story behind this remix, I would gamble to say Meth wrote the lyrics a little later after the original. Not that they are any better than the original, which might have the more catchier lines, but Meth's rhymes on the remix seemed more complex in some areas. It was still classic Method Man dropping:
Hey you get off my clooud Let me get raw with my southpaw style Mover, puffin' on a fat blunt from Cuba It's the Meth-Tical jet to Cal, I'm the buddha Monk on the hunt for machine gun funk I keeps you open like a slug from the shotgun punk Double-barrel, yeah Meth bring it to them proper Partner, you ain't got no wins in me casa Straight up, you movin' too fast so baby wait up Took one, added seven more now you eight up Get on down wit' your bad self Get on down, listen to the sound, come on Few can ever get this whole commit legit See you all up in my dick But you don't know shit, uh-huh What's your definition of a real emcee From what you dedicated, hey it must be me Meth-Tical, a lewd descendant of the loud hip-hop I go on to the break of dawn, and just don't stop Give me the green light, and the sign one way Have you had your meth today Huh, move it in, move it out Stick it in, pull it out Shake it up, shake it down Come on down, Meth-Tical Oh I often pray that I will But today I am still Just a...
Coming in at only two verses is a disappointment in someways and he seems to get kind of sloppy on spitting the second verse. Yes, we love Meth's "spray it and say it" rhyme style, but it's just not as tight on the second verse. All in all, the song is near classic in my book, just for the simple fact that it keeps a lot of the same things that made the original such a great song, but it adds enough to it to make it seem like a new song.
The Verdict
At one time in my life, I played the original version of "Method Man" so many times that I enjoyed the "newness" that the remix brought. It felt like a second chapter in a good book that is Method Man. But as the years creep on, you can't argue against a song that might be slicker and less abrasive than it's remix, but it's a classic and you can't go against the memories that the song conjures up in the mind. I think ultimately I like the beat a bit more on the remix, but dig the lyrics more on the original. In the end, it's the original. Vote for your favorite in the poll in the upper left hand corner.
While my thing has long been hip hop, the passing of Micheal Jackson kinda hit close to home. Not only have I recently discovered some gems in the Jackson 5 catalog (I was just listening to "All I Do Is Think of You" over and over just yesterday), Thriller was the first album that I "discovered" on my own, away from my parent's (read: my mom) influence. At the young age of nine, I was smack dab in the middle of the "Thriller craze". What can I say about that album that hasn't been said already? Seven number one singles? Are you crazy? The thing was though, you can't argue about the the impact that album and the songs that came off of it had on the whole pop culture. It's impossible to measure the influence he had over pop music and pop culture. The white glove, the moon walk, the shrieks and shrills, the dancing. When Michael was burned during the making of a Pepsi commercial, it was MAJOR news.
I was right there in the middle of the Michael Jackson mania as well. Instead of the Johnas Brothers that my own daughter has today, I had Michael Jackson and growing up. The album's influence would affect me for the next couple years. I tried to learn how to moon walk (never did really nail it down), I tried the dances, and I learned the words. My two female cousins, one a year younger than me, the other a year older than I, would put on our own dance routines and performances based on the Thriller album. I would watch eagerly during the Grammy's and the American Music Awards and rooted for him to take home any award he was nominated for. I would watch attentively during his performances on the said shows. Before Micheal was engulfed by his own tortured past and personal demons, he was an articulate, albeit shy individual, but I listen to anything he had to say.
As I previously mentioned, I have been going back and exploring the Jackson 5 catalog a little more during my recent exploration of old funk/soul/jazz/R&B wax. In those years after Thriller, around '85 and '86, I would go back and listen to Off The Wall, which my mom owned on wax. It's a great album in it's own right with some great singles. I'm sure lots of people would love to sell 20 million copies, only to have people forget about it all the time. By the time Bad dropped, I was in junior high or a freshman in high school and it wasn't "cool" to like Michael Jackson. I never bought the album, although I've listened to it many time from friends and the such. The rest of his catalog took place while I was into hip hop and therefore never really got into beyond hearing the singles played on the radio.
In this tribute episode of "This or That", we'll pick out favorite song from the classic album Thriller. As previously mentioned, there were SEVEN number one songs from the album. Seven "classic" songs. From the funkiness of "Billie Jean", to the rock tinged "Beat It", the dark "Thriller", to the superstar duo of "The Girl Is Mine", this album had something for just about any music lover. I could make an argument for a handful of songs found on Thriller. In those early days, and for a long time afterward, I went with "Beat It" as my favorite track off the Thriller album. The edgy guitar rock (yeah, I used "edgy" to describe a Michael Jackson song) sound appealed to my tastes of my early classic rock upbringing. The video was a favorite of mine as well. The "West Side Story" influenced video piqued mine as well as many people's interest in dancing. Of course there is "Thriller", the song was good in my book, but no one will EVER forget the video. It changed how videos were done and for the better. Later on though, I came to appreciate the musical composition that is "Billie Jean". In the day, it was played almost at nausea, so I think that turned me off a little bit. You have to admit though, "Billie Jean," is probably the funkiest song found on the album. I have to go with "Billie Jean."
Yes, Michael Jackson had his imperfections. Some came from his some what tortured upbringing, some from misunderstandings and some were probably just straight up bad decisions from him. Despite these, you can't argue that the man was a nothing short of a musical genius and his contributions to pop culture, music, and even videos will live on for a long time.....RIP in Mike.
A couple weeks ago, we had one of the closest "This or That" we've ever had. When I started debating in my head which Alkaholiks liked better, it was difficult, very difficult. It was also one of the few that I couldn't really predict the outcome before I started writing it. The last time I checked last Sunday night, it was tied up with about two hours left. The final result ended up being 57-54 in favor of the sophomore effort, Coast II Coast won out in the end.
This week, we feature one of my original all-time favorites. Yes, I haven't bought an album from his since 1995, but at one time, he epitomized what an MC was. Full of "piss and vinegar" and the swagger before it was a word, LL Cool J came onto the scene with both guns blazing as the poster boy for the new Def Jam label in 1985. He appeared on Krush Groovin' decked out in his soon to be trademarked Kangol hat, a thick gold rope, complete with his cocky persona, Cool J was well on his way to be a superstar and a legend in the hip hop game.
While some could argue with putting in LL's first album, Radio, into this mix, I'm going to bypass it. For me personally, it was an album that I went back to after being totally hypnotized by Bigger & Deffer. I'll still probably throw Radio up in the mix of votes, since after all it was the introduction to LL for the world and both singles, "I Can't Live Without My Radio" and "I Need a Beat" are classics in my book. I'll also probably put Walking With A Panther in the votes as well. I loved the album, and still do to this day. If I had to rank out my favorite LL albums, it would be third, right after the two albums we are going to cover today. But LL caught a shit load of flack for the album. When hip hop was changing, becoming more lyrical, more passionate and more socially challenging, where Walking With A Panther is straight up beats and arrogant rhymes. So what two albums are we going to cover? Shouldn't it be obvious?
Bigger & Deffer Vs. Mama Said Knock You Out
Bigger & Deffer
My initial introduction to hip hop was through Run DMC and their Raising Hell LP. From there, I can't really recall the precise order. LA DreamTeam was in there somewhere, so was the Beasties and the Fat Boys. But the album that got the most play from me at the time was LL Cool J's "Bigger and Deffer" album. I really can't remember my introduction to LL Cool J, but my then best friend had something to do with it, but I don't remember the specifics. I played the album non stop. I had my tape, that I borrowed from someone and never returned, and I would pop it into my walkman just about anytime I went outside or did anything. I had the words down, and it's an album I can still spit rhyme for rhyme.
If you were into hip hop at the time, you knew what the "Calling all cars, calling all cars....", over the radio meant, it was time for "Bad" to drop. Back in these days, I was all about the lyrics and I knew "Bad" like I knew the back of my hand. LL displayed the "baddest b-boy image" perfectly on the song. It's nothing that was going to make you better person after listening to it, but it was simply what hip hop was meant to be. Hip Hop started out in the parks, with MCs eventually trying to out do each other. It was all about competition and who could say the flyest rhymes. That's what LL is all bout on "Bad" and most of the Bigger & Deffer album.
No rapper can rap quite like I can I'll take a musclebound man and put his face in the sand Not the last Mafioso I'm a MC cop Make you say, "Go L.L. and do the wop"
If you think you can outrhyme me, yeah boy I bet Cause I ain't met a motherfucker who can do that yet Trendsetter I'm better my rhymes are good I got a gourmet plate that says I wish you would
And when rap begin then I gotta join in and Before my rhyme is over you know I'm a win Cool J has arrived so you better make way Ask anybody in the crowd they say the kid don't play!
Sparring competition that's my hobby and job I don't wear a disguise because I don't own the mob Got a pinpoint rap that makes you feel trapped So many girls on my jock I think my phone here is tapped
It's not that L was just cocky, he could also back it up. Yes, the lyrics aren't complex for today's standards, but this was before Rakim really stepped things up to the next level. And it wasn't just LL's lyrics that made him one of the elite hip hop artists at this time, it was the energy he packed into his rhymes. You only needed to witness/hear tracks like "Get Down", ".357 Break It On Down", or the incredibly infectious "Go Cut Creator Go". I used to rock out to "Go Cut Creator Go" in the mirror, much like previous generations would rock out to the Chuck Berry sample it takes its riff from.
Just about every song on Bigger & Deffer would be my favorite for a certain amount of time. I used to like the tempo change and minor delivery change found on "The Breakthrough" and the track still remains one of my favorites from the album. For a kid in the eighth grade who had yet to hear 2 Live Crew or Too Short, "Bristol Hotel" and "Kandy" were both on the risque tip, and of course "My Rhyme Ain't Done" is the predecessor to all the Andrew Dice Clay wanna be x-rated fairy tales that would become a rage in the early 90's. For me, the album basically ended at "Ahh, Let's Get Ill", which again packed as much energy as a electric plant. I can remember laying in bed with my headphones on, imagining I was LL rockin' the stage. Ahh, those were the days.
Bigger and Deffer isn't without it's flaws, and it's these flaws that probably keep it from being largely regarded as a "classic". There was nothing more that I hated than the hip hop love song and LL was the early king of this. Anytime "I Need Love" came on Yo! MTV Raps, I would quickly mute it or change the channel. I can handle it a little more in my older years, but it's still not anything I get crazy over. "The Doo Wop" is rather pointless as well. After listening to it once or twice, you really had no interest in ever listening to it again. Despite these downfalls, and the fact that it hasn't really aged as gracefully as one would hope, Bigger & Deffer will forever remain one of the main reasons I got into hip hop.
Mama Said Knock You Out It's hard to believe this album is going to be 20 years old next year. It doesn't seem that long ago I was a senior in high school, jamming Mama Said Knock You Out on the way to school in my little Jetta. My friends weren't as hardcore into hip hop as I was, but they were on board whenever I shoved Mama Said... into the tape deck. L said "Don't call it a comeback", but that's exactly what it was, a comeback.
As I mentioned in the intro of this little write up, LL had a misstep when he dropped Walking With a Panther. Hip hop was changing every six months or so, and LL was so.... yesterday in his sounds and topics that were found on that album. Mix in some really shitty R&B rap songs (a sign of things to come) and a lot of people wrote off LL. So what did Uncle L do? He adapted. He hooked up with one of the best producers of the day in Marley Marl, who in turn updated LL's sound. His last two albums were produced by the LA Posse for the most part, who I like a lot, but they weren't up on the expanding sound found in hip hop at that time. Marley on the other hand was THE man at the time. Next, LL eased off the excessive braggadocio rhymes. I mean, yes, he was still telling all the sucka MCs that they weren't shit, but he through in songs like "Cheesy Rat Blues", "Power of God" and even dropped some social commentary on "Illegal Search".
Around this time, Run DMC who were my original favorite hip hop artists, had started their downward spiral, so I considered LL my favorite. Fully aware of the backlash LL caught for Walking With a Panther, I knew he needed to really come with it on the new album. That summer, the first single, "The Boomin' System" dropped on Yo! and this immediately kicked up the anticipation a notch for the new album.
The actual video was ho-hum, but you had to be fixin' for the album after hearing Marley lace L with a funky beat. We also had a sneak preview of what to expect when Marley remixed "Jingling Baby", which appeared in it's original format on the Panther album. The song was a hit in many facets of the game. I personally didn't mind the original all that much, but Marley brought new life to the track and really gave the listeners something to look forward to.
Soon after "The Boomin' System" dropping, the album would drop and it was official, LL was back. Before the title track was even released as a single later that fall, I was all over the track. Talk about packing energy into a song, "Mama Said Knock You Out", is full of the stuff. It was what any good entry song should be for anyone about to do battle, it was just simply a bad ass song.
Dont u call this a regular jam Im gonna rock this land Im gonna take this itty bitty world by storm And Im just gettin warm Just like muhummad ali they called him cassius Watch me bash this beat like a skull Cuz u know I had beef wit Why do u riff with me, the maniac psycho And when I pull out my jammy get ready cuz it might go Blaaaaw, how ya like me now? The river will not allow U to get with, mr. smith, dont riff Listen to my gear shift Im blastin, outlastin Kinda like shaft, so u could say Im shaftin Old english filled my mind And I came up with a funky rhyme
In some ways, he might have dumbed down his approach, but he more than made up for it in other aspects.
Going through the album the first time, I realized it was a much more diverse album than his previous album. Jumping into the second song, "Around The Way Girl", it was the smooth R&B type thing LL was getting to be known for, but this track was actually decent, compared to the garbage R&B songs found on Panther. In fact, it was more than decent and can fairly put up there with the great female influenced jams of hip hop lore with "Electric Relaxation" and others. "Eat Em Up L, Chill" is another track that showcases LL's diversity on the album. It's fair to say that people overlook LL's ability to switch up styles on a song and "Eat Em Up..." has Uncle L maxin' to the fullest in a similar fashion as "Mr. Goodbar".
LL didn't lose steam though when it came to dropping outright bangers. Besides the title track, L brought the heat on the Rapmania recorded "Murdergram", which just that, Cool J straight up murking fools. LL also had a few beefs to get off of his chest, and he did just that when he roasted MC Hammer, Ice T, and Kool Moe Dee on one track. Each got their own verse specially made up for them. The track first appeared on the House Party soundtrack, but it was full wrath was felt when the album dropped. You also had "Cheesy Rat Blues", which had some people hating on it, but I've always loved the track. In my life, I've seen some people who I thought were my friends, but really never was so this track was one that I could always relate to.
Mama Said Knock You Out is an album that brought LL back to being relevant, if he wasn't already. Featuring a healthy dose of just about everything and all over banging beats, LL was once again the man in charge. There were a couple songs that I wasn't feeling all that much, with the album version of "6 Minutes of Pleasure" being somewhat drab (the remix is much, much better) and at the time, "The Power of God", wasn't really my thing (although I dig the song now). The weed carrier song, "Farmers Blvd", had some decent verses from some of L's homies, but for the most part, I would skip over this track, and still do. The beauty of this album though lies in the diversity found on it, something that the three previous LL albums didn't have much of.
Verdict
If you need any evidence on how much hip hop's sound evolved in a short time, just check these two albums. In three short years, the sound found on Bigger & Deffer was remarkably different from that found on Mama Said Knock You Out. In the end, I think it will come down to those of us who grew up with Bigger & Deffer, and those that are younger who might be able to identify with the sounds found on Mama Said Knock You Out.
As for myself personally, I went back and forth one which album I would consider my favorite and even as I write this, I'm still not totally sold on my choice, but I'm going to go with nostalgia once again and pick Bigger & Deffer. I'll concede the fact that Mama Said Knock You Out is probably the technically better album. But the songs on Bigger & Deffer just mean more to me. I have a strong suspicion that Mama Said.... is going to roll this week, but I've been wrong before (once I think...haha)
Guest Opinions (From the magical new tool, Twitter)
Dart Adams: I gotta go with "Bigger And Deffer" over "Mama Said Knock You Out". No one expected that LL could deliver a monster LP like it. That album made LL Cool J as big as Run DMC and a legitimate superstar. He was on American Bandstand with that album. It was classic.
Kid Hum:I'd probably pick BAD cause it has more songs I like, but "Mama Said.." is my favorite Cool J song ever, hands down, for what its worth
This week, we are back to the west coast and highlighting one of my all-time favorite groups, Tha Alkaholiks. Comprised of J-Ro, Tash, and E-Swift, the Liks would first appear on King Tee's Tha Trifflin' Ablum release. On that album, it was just E-Swift and J-Ro appearing on a few tracks since Tash was locked up for a DUI charge when the tracks were recorded. Being the large King Tee fan I was at the time (and still am), the Liks assisted tracks would soon become my favorite. I was soon on the lookout for more of their music. The summer of '93, right smack dab in my hardcore partying days, they would release the first of a string of three great albums, in the form of 21 & Over. We examine the three albums and try to decide, if possible, which of their first three albums deserves being called Tha Alakaholiks greatest piece of work.
21 & Over Vs. Coast II Coast
Tha Alkaholiks - 21 & Over
As any memorable album that I own, I remember the day I purchased 21 & Over. It was a Thursday, which was a couple days after the new releases dropped. Not sure why I didn't check it on the day it was released. I was at a girlfriend's place, chillin' with her, watching the VMA's on MTV. She was starting to annoy me, so I bounced out and stopped by the Hastings store that was right by her place. As I mentioned, I had been playing the King Tee album non stop since it dropped and quickly grew to like the vibe E-Swift and J-Ro were giving on the album. I was looking forward to the their own album. Then of course, "Make Room", had dropped a bit before the album to build the buzz. I remember picking it up and quickly threw it in the CD player on the way home. The party/drinking lyrics over funky tracks all just sucked me into their music. 21 & Over would soon be the soundtrack to any Friday night while I was getting ready to head out.
Coming in at a quick ten tracks, it follows that classic rule that more hip hop artists AND people in general should abide by, quality over quantity. Give me ten strong tracks anytime over ten strong tracks out of eighteen total. It just makes for a more enjoyable listening experience and a more complete album. That's exactly what Tha Liks intended to do on 21 & Over, with none of the ten tracks deserving of the fast forward button. As previously mentioned, "Make Room" was the first single. The single was successful enough to get airplay in New York City, which at that time wasn't the easiest thing to accomplish for a west coast group. Musically, they had that west coast style of deliveries and some of the beats are definitely left coasted influence, with they funk samples and the such. But they weren't rhyming about the typical things that west coast artists were rhyming about at the time. They were all about partying and having a good time, not to mention that Tash could lyrically hang with anyone coming from the east. This might have to do with the fact that both Tash and E-Swift are originally from Ohio, or as I've read in numerous interviews, they were influenced more by the east coast hip hop than than there gangsta rap influenced west coast compadres.
Their appeal to both segregated hip hop coasts is the main reason for the success of 21 & Over. Tracks like "Only When I'm Drunk", which uses the familiar "7 Minutes of Funk" sample, were able to be played on both coasts. Of course this track also demonstrates the vibe that made them so popular to hip hop heads. J-Ro, who is often overshadowed by the vastly superior MC, Tash, drops a drunken style that had me singing along many a drunken nights with it:
I get drunk and I stumble to the phone And conjure up a bitch to bone when I'm alone OHh shit, tow back, I need to take a piss Only when I'm drunk I sing a song like this My grandma and your grandma *urrp* Sittin by the fire Hold on, turn the beat off [nah, keep it goin J-Ro can you make it?] I'm just not knowin I get drunk and start talkin mo' shit And when I got a gun in my hand you better get, out Cause my brain just ain't what it used to be Forget tryin to raionalize, cover your eyes Ah d-*urrp*, damn I'm drunk I need a chunk, no better yet a hunk of that funk When I get drunk I might act uncouth But when I get drunk I always tell the truth Yeah I'm good, I'm bad, I'm dope, I'm freaky fresh I make hip-hop fans say yes yes The Liks comin through, you know we gonna blow upop Hold up, hold up, I think I gotta... *urrrrrrp* Damn, false alarm Gettin all the ladies with my cool charm When I get drunk I might even call my daddy a punk Yeah, but only when I'm dr-*urp* drunk
Straight and precise but loaded with fun, it was tracks like this that made J-Ro one of my personal favorites on the mic, despite the fact he wasn't looked upon as the second coming of Rakim. Of course, they didn't need Ro to be a lyrical beast, they had that in Tash. Tash is a beast on the mic, some people don't realize that. He lead off "Last Call" with the wickedness:
It's time to roll my sleeves, fuck a few MC's up Another rough cut, from the crew that won't ease up The Alkaholik click, AKA the forty downers Flips rhymes like Calvin flips fries and quarter pounders I never drink and drive cuz I might spill my drink I failed the breathalizer so they took me to the clink Niggaz earlin in the sink cause they can't fade the Cisco I'm from the old school but I never rocked a disco Loops from the group that, likes to smack the bitches Tha Liks is hittin hookers like a gangsta hittin switches Front, to the back, to the side, to the side And make you dance with these bitches but, no electric slidin And I'm about to flip, but first I'm bout to sip Off the forty ounce of brew that I was savin for the trip Back to the lab cuz all I do is bang cuts That's why I hang around my group like a dick hang with nuts
A true ode to drinking, and that's exactly why21 & Over is the classic that no one mentions. "Turn The Party Out" is the worlds introduction to the Loot Pack and more specifically, Madlib. The credits say it's produced by the Loot Pack, but I'm willing to bet that means Madlib did it all himself. "Bullshit" is another old school sounding (meaning pre '84) track with it's Skull Snaps sample (you know which one)for the drum tracks and it's call and response style chorus.
Some niggaz rock like the Liks... BULLSHIT! Uhh, I hate big tits... BULLSHIT! We'll never make another hit... BULLSHIT! I don't drink cause I quit... BULLSHIT!
If you had to pick a weak link, you probably would have to go with "Soda Pop", and even that is stretching it. The unheard of group, Field Trip, dominate the track, but it's fits into the grand scheme of things. The only west coast influenced song would be "Who Dem Niggas", which has Threat guest appearing. The track hipped me to Threat and put him on my radar. The track is great, but in some ways doesn't fit in with the rest of the album. Over all though 21 & Over is an album that I can still rap along with word for word. It's an album that I can put on at anytime and just vibe with it. If I'm in a shitty mood, this album will put me in a better mood. It's simply just fun music and a group not acting all hard and bad, something sorely missing in today's music.
Tha Alkaholiks - Coast II Coast
After the moderate success of 21 & Over found on both coasts, Tha Liks quickly figured out they were onto something. Much like that first album, Coast II Coast is very accessible to listeners in both locales. They even went as far as to bring on one of the dopest east coast producers at the time, Diamond D, for two tracks. The same vibe and the same flows along with some of the same topics were present for Coast II Coast and in some ways they were more precise. The album was another short one, coming in at 11 tracks this time. They did extend the songs as far as how long they went. On 21 & Over, every song except one was under the four minute mark, while only two tracks around under the four minute mark on Coast II Coast. Not that it was a significant change, it did make for a little longer album time wise, which gave you the feeling of more Liks music, which in this case isn't a bad thing.
They followed a lot of the same formulas that were successful for them on the first album, including making sure the first single was one that grabbed the listeners attention. For 21 & Over, it was "Make Room", for Coast II Coast, it was "Daaam". "Daaam!" was armed with an infectious bass line and the party anthem themed lyrics, it did it's job and got the masses ready for another Alkaholiks album. Myself, I was a HUGE Liks fan by this point in time. We all know what 1994-95 was like in terms of music, with classic albums dropping once a month if not more often, but in the spring of '95 I was eagerly awaiting the release of Coast II Coast after seeing ads in "The Source" magazine. I remember picking it up the day it dropped after getting out of class. My then girlfriend had to listen to this CD everyday for the next month (at least until Sittin On Chrome dropped). We would car pool to our college classes together and I pumped it every morning. For her, it was better than the Biggie and Wu-Tang Clan that I had been playing previously, but she still wasn't very fond of the whole hip hop thing.
After the Madlib produced "WLIX" which lead the album off, the Liks showed they were back with a vengence, concentrating more on the battle rhyme and quirky punchlines than the old style partying they displayed on the first album. "Read My Lips" is straight up beats and rhymes style as an improved J-Ro showcases his rhymes style over a funky E-Swift beat. Tash of course displays why after Kurupt, that he should be considered the best west coast MC:
Read my lips, my dick be makin bitches leave tips Castin shadows over battles like a lunar eclipse Cause the man that makes you jump like you the grand prize winner of a Lexus I'm back again to test your reflexes If you don't think I can flow then you can ask E-Swift If you don't believe Swift then you can call Steve Griff If you don't believe Griff then step up to fuck with I Call you up and send you as a gift to hieroglyph Cause the Liks got lyric tricks datin back to eighty-six While my thousand dollar system still busts the pause mix So my style be comin at you more deadlin than a cobra With these niggaz on my mind like is he drunk or is he sober Mind your biz while I rhymes like Biz to the tent I slam like a fifth that stays hidden Not to be fucked with, under any circumstances And I don't have to sing to send these bitches into trances
The first of two Diamond D tracks is the next track in "Let It Out". The DITC style horn samples and dusty bass line make this track in the running for my favorite track off of the album. As I mentioned, J-Ro is a sharper lyricist on Coast II Coast. He's still not going to blow you away on the mic, but his 83 style makes for a perfect accompaniment on Tha Liks style of music:
I get in em when I sin em, the Alkaholik venom I fold your clothes with your body still in em The rhymes I got, hit like Ronnie Lott The only way you take my spot is with a shot I grab rappers by the hand and make sure they understand That they can't scrape J-Ro the man A nigga who stays, in the old school ways And just like Subways, I can make your days We got more soul than James Brown and platform Adidas The Likwit crew, comin new like a fetus So run tell your granny, your pops and your girl Niggaz like me gonna rule the world So all aboard the J-Ro train to FunkyTown Express from the West so it's best that I clown
From there it's the three tracks that define the album and make it a separate piece of work than just being a 21 & Over Part II album. "21 & Under" jumps off into a story as Tash talks about running into some young kids in a convince store and tries to steer them away from being rappers. The chorus is one of those choruses that get stuck in your mind and was a common favorite of mine back in day. The beat is a sure sign that E-Swift matured as a producer. Truthfully, while I loved the music found on 21 & Over, the beats were really simple. They worked wonderfully, but they weren't that deep. On Coast II Coast, E-Swift comes into his own and "21 & Under" is a great example of that. The nearly flawless "All The Way Live" is a perfect track that demonstrates the bi-coastal appeal of the Liks, with both Q-Tip and King Tee grabbing the mic. The Abstract was on top his game in the mid 90's and most definitely is on point on "All The Way Live". King Tee busts his drunken style over a sparse piano loop that make this track sound like it could have been recorded in D&D Studios or something.
Some might say that Coast II Coast is most remembered for the second single, the Diamond produced "The Next Level". Again, the beat is something that classics are remembered for, with a sick bass line and some noisy background horns. Diamond even jumps on the mic for the second verse. He adds more east coast flavor to the already heavily influenced east side track. The track is a classic in my book as everyone rips the mic, from J-Ro to a sick, sick Tash verse. Even E-Swift, who was more than a producer, jumped on the mic. While he's not a great mic, he added his own brand of drunken flavor in the same way triple sec adds to a Long Island Ice Tea. You gotta have it.
The album appeased the Liks fans and gained them some critical acclaim from the same places that gave them props the first time around, but I think it failed to gain them any new fans, except for those that were Diamond D junkies. The album wasn't flawless this time around either. "2014" isn't a bad joint, but it was a track that after about a month I would skip over it when it came on. It's an interesting concept and the beat is nice, but it lacked replayablity (Yeah, I made that word up). "Flashback" was another track that I quickly grew tired of. The (true) old school influenced track was again alright the first few times, but I would quickly skip over it after a week or two. For all the Liks fans though, it was near classic. All in all, the group was more dialed in on Coast II Coast and might just be their career defining album.
The Final Verdict
In our past "This Or That" weeks during this series, I've been able to accurately predict the winners with very little trouble. This one though, I'm not really sure how it's going to end up. I came very close to including Likwidation as well, but after listening to it, it was just wasn't up to par as the other two. I do think if that album was trimmed down to 12 songs or so, we'd be discussing it as well. In some ways, I feel that musically, Coast II Coast is the better album. E-Swift, who is mad underrated, was on top of his game at this time and lyrically, the duo of J-Ro and Tash are at their best and even though E-Swift wasn't on Coast II Coast as much as he was on 21 & Over, he still did his part lyrically. In the end though, I'm going to go with the nostalgic reasons and go with all the fun times that 21 & Over conjure up in my mind.
Trav's Pick:21 & Over
J-Zone: "Coast To Coast all day. 21 & Over had all the singles and party anthems but Coast To Coast was more diverse. They had some drunk party anthems but they also had concepts like 2014, Hit & Run and the title cut. All 3 MC's killed it on this album, but Tash just went nuts. And E-Swift's beats on Coast To Coast were his best ever and mad slept on. The way he was choppin mad samples from all over the place and just doin the wall of sound shit...it was very uncommon to hear that style in the mid-90's. It was deceptively complex, cause you don't realize all the layers he got in the beats. Listen to "Read My Lips" and "Bottoms Up" and tell me E-Swift ain't one of the most underrated to do it. I tell him that to this day and its because of Coast To Coast. Even the beats on the skits were ill!"
J-Zone's pick:Coast II Coast
Has-Lo: 21 & Over. I like the beats better. On Coast II Coast, the vibe was much darker and they had some stellar moments, like 2014, but 21 & Over was more fun.
Has' pick:21 & Over
CH Commish from "Slushy Gutter Summer" When Tha Liks dropped their debut album, it was like they were talking to me. "Only When Im Drunk", "Last Call"- come on, who hasn't lived out real life versions of those songs? 10 tracks, no filler, no kitschsy skits, just precise lyrics and funny pop culture metaphors, and some of the banginest beats of the mid-90s. "Make Room" still gets the party going 16 years later.
E-Swift and Tash are both from Ohio so I had a special interest in this group. Not only had they hooked up with King Tee one of the hardest and first pioneers of gangsta rap, but they had an entire album dedicated to guzzling brew. Oh My God these guys were speaking directly to me one on one! I rememeber being drunk, leaving the bar and hanging out the window with the radio bumping screaming "LAST CALL YA'LL!!". This was a standout album when everything was G-Funk. I believe it is one of the most unique albums of the early 90's, funny, witty, interesting rhymes, tight beats and impeccable production.
Two weeks ago, we had Dr. Dre's The Chronic squaring off againstSnoop's Doggystyle LP. It was actually pretty close up until the last couple days when the votes came pouring in to have The Chronic pull away for good. Can't say I'm surprised about the outcome, but I was surprised it was as close as it was after the first three or four days.
Final: 102-64
This week we have that group from the QB, Queens Bridge for those not in the know. Mobb Deep dropped a slew of good music in the decade of the 90's, with two outstanding albums released in '95 and again in '96. The beats were dark, the vibes were moody, and the rhymes detailed the grim reality found in the Queen Bridge housing project. I have a good idea how this one is going to turn out, but I often hear how the '96 album, Hell On Earth, is slept on. This week, we'll see just how much love it gets.
The Infamous Vs. Hell On Earth
Mobb Deep - The Infamous Mobb Deep dropped The Infamous a week after my birthday, I remember it quite well. After releasing the fairly overlooked Juvenile Hell a few years earlier, Mobb came back to the game, all grown up and packing heat. They dropped the instant classsic, "Shook Ones Pt. II", and the buzz for the group was at a huge pinnacle when the album finally came out. The release of the album is responsible for one of the greatest hip hop memories I have. For some reason, I didn't pick up the CD when it dropped that Tuesday. I was busy with school, busy with a girlfriend, something, I don't remember. It's a good thing though, cause the way it went down will always stick in my mind. One of my best friends to this day, Dino aka Goosebumps, and I worked a weekend shift at Hewlett Packard. We worked on an assembly line, making computer hard drives. We had only met a few months earlier, but after catching him reading The Source mag during a break and him walking by my Jimmy SUV while blaring some classic hip hop, we quickly became friends. We worked ten hour shifts, which often involved one or both of us being dragging ass after a long Friday night of drinking and partying. Often though, by the time our shift was over, we'd hit up the local Hastings and go through the new releases and/or pick up some cheap used discs.
This particular Saturday, I remember we got off work early and we went and hit up Hastings. We found The Infamous in the new disc section and quickly purchased it and went out to my Jimmy. I had a pretty sweet set up for a stereo in that vehicle, a couple 12's in a box in the back, some 6x9's in the panels in the back seat and some mids in the door with some tweets in the dash, all being pushed by a Punch Fosgate 150 amp. Meaning the shit banged. We got in and popped the disc in the player and were immediately blown away. I remember us sitting there in the parking lot, just nodding our heads at the extremely intense music that was pouring out the speakers. There wasn't much talking, just the two of us memorized by the deep bass, hard drum kicks and melodic, yet dark strings. We didn't leave that parking lot until the CD was over. Each track carried it's own identity, it's own similar sound, yet unique vibe. It's a story I still tell to this day and one of my favorite hip hop moments.
The Infamous is arguably one of greatest hip hop albums ever released. The vibe on it is dark, sinister and the impending danger found on every lyric spit by Prodigy and Havoc make it a favorite of mine. The track "Survival of the Fittest" is nothing short of classic in it's own right. Havoc, who was a master of inauspicious sounding piano samples, laced up a piano loop that sounded like it was straight out of a funeral march. He then placed some horn stabs and looped up some straight banging drums, it was simply doomsday in nature and the perfect track to anchor down the first quarter of The Infamous. Gambino, mafioso, thug rap, whatever you want to call it, wasn't quite out there yet, (I'd mark the release of Raekwon's Only Built 4 Cuban Linx as its' start) but "Eye For An Eye" is a predecessor to the sub genre as Nas and Raekwon bless the track with their comprehensive lyrics. Not that Havoc or Prodigy will ever be considered as the greatest lyricists, both are considerably overshined by the a Nas who was still riding the wave of "Illmatic" and Raekwon, who some considered being the second best MC in Wu after GZA.
What I think really makes The Infamous work is the presence of three Q-Tip beats (known as The Abstract on the album). Havoc was a beast in those days behind the boards, but sixteen tracks of Havoc's dark and grim beats would be a little too much gloom for one album. Tip brought a different sound. The beats he supplied for The Infamous weren't definitely not on some sunny, sing songy shit. They were grimy for Tip's standards and they switched up the vibe of the album. The first Abstract creation shows up on "Give Up The Goods", which is like comparing a flashlight to a candle in terms of bringing a lighter vibe. The almost bouncy bassline speeds things up and brings a different sound. The dreamy like synths swirl around the listener as the hard drums (a trademark of the QB sound) pound through the woofers. The smooth vibe of "Temperature's Rising" even further strengthens that Q-Tip was a top flight producer at the moment as he gives the duo the perfect back drop for them to detail a conversation (or maybe a letter) with a friend on the run. The music perfectly highlights the despair and the urgent nature of the situation the subject matter is about. Light guitar sample and the even singing for the hook (and I hated any kind of singing on rap songs at the time) just make the song a complete package. The third and final Q-Tip produced jammy is the excellent "Drink Away The Pain", with the wicked sax sample. I've long considered one of my favorite beats on the album, as well as the subject matter also garnered more spins than other tracks on the album. Prodigy and Havoc spit a stories with the characters named after beverages of the alcoholic variety. Tip's is a bit different, but he kills his verse as well.
The presence of The Abstract beats in some ways makes Havoc's greatest accomplishments shine even more on The Infamous. After the only slight misstep on the album in "Up North Trip", Havoc and P shoot off a volley of bangers in the form of "Trife Life", with it's intricate beat that utilizes a vast variety of sounds, with many layers. It's one of Havoc's crowing achievements. But just when you are ready to think he couldn't do any better, the extremely dark "Q.U. Hectic" starts discharging through the speakers and you don't want to turn the lights off. A stinging sax sample over the chorus gives the listener hope, but when P starts spitting, you realize nothing is going to be alright. They don't even give you a chance to catch your breath as "Right Back At You" starts baning through the speakers. QB isn't a place to fuck around and Havoc and Prodigy let you know that. In what could arguably be the best beat on the album (not mine, but I would accecpt the argument), it makes the lyrics sting that much more as Prodigy brings some serious heat:
Yea, yea, check it out Now run for your life or you wanna get your heat, whatever We can die together As long as I send your maggot ass to the essence I don't give a fuk about my presence I'm lost in the blocks of hate and can't wait For the next crab nigga to step and meet fate I'm lethal when I see you, there is no sequel 24-7, mac 11 is my people So why you wanna end your little life like this? Cause now you bump head wit kids that's lifeless I live by the day only if I survive The last night, damn right, I ain't tryin to fight We can settle this like some grown men on the concrete floor My slugs will put a stop to your hardcore ways of action, I grab the gat and Ain't no turning back when I start blastin Pick up the handle and insert the potion Cock the shit back in a calm like motion No signs of anger or fear cause you the one in danger Never share your plans wit a stranger, word is bond
Not to be out done, Havoc drops what could be potentially be his best verse on the album:
Fuk where you're at kid, it's where you're from Cuz where I'm from, niggaz pack nuthin but the big guns Around my way, niggaz don't got no remorse for out of towners Come through fronting and get stuffed wit the 3 pounder The loud sounder, ear ringer And I'm a point the finger on all you wannabe gun slingers You got a real ice grill but are you really real Step to the hill and I'm a test your gun skills Cuz real niggaz don't try to profile You just a chump who needs to get drunk to buckwild But swing that bullshit this way And I'm a make your visit to the bridge a muthafuking short stay Queensbridge, that's where I'm from The place where stars are born and phony rappers get done 6 blocks and you might not make it through What you gonna do when my whole crew is blazing at you Wit macs and tecs to lend to get your dome crush You thought that you could come around my way, you big stupid fuk What the hell you smoking, what the fuk possessed you To come out your face, now I have to wet you Throw on my tims, black mask and black serpent Twist a nigga cap, then jump in the J-30
To top it off, you have Ghost and Raekwon trading lines. If I had to pick a second favorite track off of The Infamous, it'd probably have to be "Right Back At You". My favorite? Do you even have to ask? "Shook Ones Pt. II" is a classic song. It's one of those tracks that embodies the true essence of hip hop. It's a true essential of the hip hop culture, such an important piece of history. I can't pinpoint exactly what makes the song so great. Both MC's drop memorable verses and of course P's verse will forever immortalized on the opening scene of "8 Mile". The chorus/hook is something that will be imprinted in any hip hop head's memory for their life on this earth. Then there is the beat. What is the best part of the beat? Shit, it could be the thick, driving bass line, or it could be the memorable piano sample? Whatever it maybe, if you don't nod your head to this, then you simply can't. The track is truly a classic in every sense of the word.
Just revisiting this album again for the first time in a couple months makes me realize just how great the album is. The beats, the vibes, the lyrics, it's all there and it's all simply put, a highlight of a crew that did it pretty well in the 90's. There are great tracks that can be found on The Infamous, that running down your favorite five would probably be difficult and if you are like me, they change with each listen. The Infamous is truly a diamond in the golden era, hands down.
Mobb Deep - Hell On Earth
The success that Mobb's second album found in '95 made for a huge expectations for Mobb's third album, Hell On Earth. While in some ways it might have been a slight disappointment in some arenas, it still conjures up high praise from the hip hop nation. Using the same template as the previous years The Infamous, dark and menacing bass lines mixed with swirling and haunting strings, one could argue that Hell On Earth is even darker than it's predecessor. The grimy music is a pure menace to any potential sunny days in the hood, as tales of death, robbin' and slanging dominate the thirteen tracks. It's pure griminess in all it's glory.
After the dope track, "Animal Instinct", Hell On Earth really kicks off with the classic jam, "Drop A Gem On 'Em". Right from the start, you are introduced to the sound and vibe that is found on the album. The haunting piano sample (The Whispers - "Can't Help But Love You") is nothing short of threatening in themselves. Mobb were masters at the subliminal dis, dropping verses that left it pretty obvious who they are talking about without coming right out and saying it and "Drop A Gem On 'Em" was no different. In '96, Tupac was on the war path, starting to take on seemingly the entire east coast and Mobb was often part of his ire. Havoc's lines at the end of his verse is most definitely aimed at the :
its too not, knocked out the box and got rocked got raped on the Island, you officially got kick that thug shit, Vibe magazine on some love shit (keep it real kid, you don't know who you fuckin wit)
My second all-time favorite Mobb Deep track gets even darker and more threatening as P grabs the mic for his verse. Never one to back down to a challenge (although he probably should from time to time), Prodigy attacks with biting lines, and while his bark might be more than his bite in most cases, he still delivers a heavy punch:
these upstate cats be leary of you yeddy niggas wit gats plus the walls on they backs Rikers Island flashback of the house you got scuffed it in you would think you gettin your head shot was enough but then Now you wanna got at my team, you must of been drunk when you wrote that shit too bad you had to did it to your own self my rebellion, I retaliate, I had the whole New York state aimin at your face
"Blood Sport" is another favorite of mine, with the seducing strings, lulla bying your ass to sleep, the dense drum track and thick bass line combine with the strange sound effect that persists for an over all eerie soundscape that gives you a peaceful feeling that you know will be destroyed in virtual seconds and it is as the duo once again brings the goods on the mic. "Extortion" follows the same formula as the dirty feeling is reinforced with looming string sample that is simply beautiful in all is gloomy and drab sound. Method Man, one of two Wu members to appear on the album, bats clean up with his garbled flow and blunted tone. "More Trife Life", evokes more strings, over a sparse yet effective drum break. Once again, the subject matter is focused on the life of the streets. It's the pure grimy shit as P and Havoc both bring the streets to life with their words. The apocalyptic "G.O.D. Pt III" is nothing short of fire and brimstone shit in the form of a rap song with crazy synth sound, the all too familiar drum break , but it all adds up to one of the most ominous hip hop tracks ever recorded.
Havoc was on his game at this time and in some ways, the production found on Hell On Earth is even more precise and on point than that found on The Infamous. Havoc's sound was very cohesive during this album, and if you loved his style, you had to been ecstatic over the sound of Hell On Earth. This is a dark and grimy album, one that isn't going to cheer anyone up or help promote world peace. It's pure hip hop, thug rap, dunn rap, gangsta rap, reality, whatever you want to call it, Mobb just did it the best in those days on the left coast. They were truly running QB and NYC after dropping Hell On Earth.
The Verdict
While both The Infamous and Hell On Earth received critical praise from hip hop heads all around, it's been a given that The Infamous is the stronger piece of work of the two and rightfully so. Hell On Earth has a very cohesive sound and in this case, almost too cohesive. There is not much change in the overall feel of the album. The beats are great; dark, scathing and menacing in nature and very composed and precise. But one can get overwhelmed with the tone of the album that fails to switch up at all. On the other hand, while The Infamous isn't as dark as it's predecessor, it still treads a happy medium of dark, grimy music and some that is more light hearted....which means it's just different shades of black. There are two songs on The Infamous I feel that could be left off ("Party Over" and "Up North Trip"), but that doesn't put a dent in the classic status that the album is commonly labeled.
Good morning, hopefully y'all had a great weekend. I drank entirely too much Saturday night and spent most of yesterday nursing a monster hangover. That should cure me from getting overly stupid again for another month or so.
With the onslaught of the crappiest holiday ever invented by mankind rapidly approaching us, no doubt the love songs will be blaring from everyones iPods, cars and home systems. What better way to catch up on some of the greatest love songs ever chosen by some of the best bloggers on the scene. "Where?" you ask yourself, why over at one of my favorite blogs of all-time, Souled On. The almighty Scholar has gotten us bloggers together and we've picked some of our all-time favorite love songs. Everyday, Scholar will post up another guest post from one of us. I actually think it's Scholar's way of getting out doing any post for a couple weeks, but it's really ingenious either way. Yours truly contributed and my contribution was posted up yesterday. You can find out what some of my favorite love songs are and read me rant even more, just in case you don't get enough of me already.
This or That
This week, we have two west coast classics squaring off against each other. Dr Dre's The Chronic and Snoop's Doggystyle. I'm tired of writing, so off we go.......
Dr. Dre - The Chronic
Ahhh, the good old days. Now before you get your panties in a bunch, saying to yourself, "That cot damn Travis talking about the good old days again," just hear me out. Yes, I'm an old thirtysomethin, that lives in the past entirely too often, but for good reason. Best believe, we are all going to know the release date three months in advance before (if ever) Detox drops and we'll probably be playing the leak a good month before it hits the stores. These days, a release such as The Chronic couldn't sneak up on anyone like it did back in back in 1992. It was December of '92 and I was out doing some Christmas shopping, and of course, that always required a trip to my local CD/Record shop, Five Mile Records. I remember it being a Saturday. I don't remember why I didn't hit the store up on Tuesday to check all the new releases, or maybe I did, but was in to early for all the new releases to be out, I really don't remember. But imagine my surprise when I walked into my favorite store and saw The Chronic staring me in the eye. From what I remember, there really wasn't a whole lot of pre-release hype surrounding the album. I've lost plenty of brain cells over the years, so maybe I'm just not remembering it right, but I remember being rather surprised finding the new Dr. Dre solo album staring at me in the eye. Yes, there was the "Deep Cover" release, which did get a lot of hip hop heads up in arms, but finding this caught me by surprise. There was also the "Nuthin' But A 'G' Thang" single that was out before the album dropped. I guess it was more that actual date the album dropped that the album itself coming, but I was still surprised.
In those days, I drove a old GMC Jimmy II (the smaller version) with the back full of speaker boxes and amps. I had it hooked up rather nice, and I remember popping the CD in the deck and when the rolling bass come thundering through the cab from "The Chronic (Intro)" and thinking I was one bad ass muthafucka rollin' through the parking lot. I think its safe to say that one of the crowning achievements found on The Chronic is the quality of the beats and music. When I say quality, I don't mean they sound tight. Of course they do, but I'm meaning the clarity of the actual music. Not often am I going to brag about the engineering of an album, although it's an important aspect of a good album, but The Chronic was engineered beautifully. The bass is full of clarity, and it can make any shitty system sound good as it generally rolls beautifully as equally through a Radio Shack special or a Bose system. The highs are tight and crisp, the snares clap, the trade mark G-Funk shrills are neither annoying or ear shattering. If there is ever a class on engineering a hip hop album, this album should be the blue print.
I remember "Nuthin' But A 'G' Thang" hitting hard, with it's thunderous claps and high synths. You could hear that song beat down the block from a few blocks away, and you heard that song a shit load that summer. The track itself is an undeniable hip hop classic. It's a song that you will always remember defining a period of your life, as it does mine. The video added to the whole aura of the song's vibe, which isn't going to be found on any "after school specials", there is a message there.
Okay, maybe the message is to drench snotty ass chicks with beer, but you can't deny the video gives you a feeling, especially if you were into hip hop when it dropped.
As I've already said, musically The Chronic is amazing and both ground breaking and classic all in the same sense. It launched a whole shit load of copy cats and in some sense, ruined west coast hip hop for me with everyone riding the coat tails of the G-Funk sound. Yes, I'm aware that there is questions of whether or not Dre was the first to pioneer the sound. Some argue Above The Law's Vocally Pimpin' EP was the first to use the sound and even the Black Mafia Life, but its undeniable that it's Dre's sound that made it take off. The album just bangs, plain and simple. I'd play "Rat-tat-tat-tat" as loud as I can stand it, and it would shake my Jimmy down to it's last bolt. "Lyrical Gangbang" was another one with it's Led Zeppelin sample (the same used by the Beasties, and still one of my favorite drum breaks) that would announce your arrival to any event.
The Chronic wasn't just known for it's crisp and clear beats neither. With a plethora of MCs contributing to The Chronic, Dre's lack of any presence on the mic was quickly forgotten as upstart and hungry MCs such as Lady of Rage, RBX, Kurupt, Daz and of course every bodies favorite tall skinny gangsta, Snoop Doggy Dogg. It's not that Dre was a bad MC, but its clear he is like a pitcher taking swings in the batters box, his pre game practice was spent on making beats. He was entertaining, no doubt about it, as him and Snoop handle tracks such as "Fuck Wit' Dre Day", "Let Me Ride", "Nuthin' But A 'G' Thang", and even holds down one of my favorite tracks "N---a Wit' A Gun" by himself. With his lyrics written by either Snoop, DOC, or Kurupt, there was always some great lines in his rhymes. I remember having some beef with a former friend and would always spit the first rhyme of "Fuckin' Wit Dre Day" to myself:
Yeah, Mista Busta, where the fuck ya at? Can't scrap a lick, so I know ya got your gat Your dick on hard, from fuckin your road dogs The hood you threw up with, niggaz you grew up with Don't even respect your ass That's why it's time for the doctor, to check your ass, nigga Used to be my homey, used to be my ace Now I wanna slap the taste out yo mouth Nigga bow down to the row Fuckin me, now I'm fuckin you, little hoe Oh, don't think I forgot, let you slide Let me ride, just another homicide Yeah it's me so I'ma talk on Stompin on the 'Eazy'est streets that you can walk on So strap on your Compton hat, your locs And watch your back cause you might get smoked, loc And pass the bud, and stay low-key B.G. cause you lost all your homey's love Now call it what you want to You fucked wit me, now it's a must that I fuck wit you
For a diss track, it was had everything that marks a good diss record, scathing lyrics, humor and a dope beat. Tim Dog, Eazy and Luke would feel the duo's wrath as they had you going "oh shit" and laughing all at the same time. Toward the end of the album, it turns more into a posse record. It was the first time we heard the likes of Rage and RBX and others, so it was quickly forgotten that what started off as a Dr. Dre record quickly turned into a Dr. Dre and crew album. RBX got me pumped for any potential solo project when he dropped "High Powered". The albums finale stay true to the old Ruthless Records practice of dropping an ill posse cut on an albums last track. Lady of Rage, Snoop and Kurupt all shined on the cut, all dropping memorable lines (especially Snoop) that still get recited line for line these days. A classic ending to a classic album.
You can't say much bad about The Chronic. Sure, the topics being discussed were the typical gangsta fare of the day. Some of the skits, other than "The $20 Sack Pyramid" (which still makes me laugh to this day), were unnecessary like most skits are. To this day, I still skip past "Lil Ghetto Boy" and never play "The Chronic (Outro", but despite those small missteps, I still give this album a five star rating. It's a classic and the pinacle of the west coast's legacy. Snoop Doggy Dogg - Doggystyle
Unlike Dre's The Chronic, Snoop's debut opus, Doggystyle didn't sneak up on anyone, myself included. The anticipation and expectations for Doggystyle was huge, with everyone clamoring for its release. Death Row was excellent at putting out dope lead singles to get heads amped up for an albums release, although they kinda dropped the ball with "Who Am I?" It's a nice single, with an off the chain bass line and the video for the song was one that pretty high tech at time, with Snoop transforming into a dog and all that.
I still crack up at the "You don't love me, you just love my doggstyle" line. For some reason, the last girl I said that too didn't find it nearly as funny. Back to "Who Am I?", the track made for a nice single. It's a nice intro to Snoop as a solo artist, dropping dope rhymes in his smooth and precise flow. But one can't help to think if "Gin & Juice" would have been a better choice for lead single as it's really the signature song from Doggystyle. The vibe from "Gin & Juice" reminds me of "Let Me Ride", in terms of style and sound, but better.
For me, it dropped on a Tuesday, right before Thanksgiving. A good friend and I skipped class to hit up The Record Exchange, another record store in our town, to buy it first thing in the morning. I remembered it snowed like a bitch the night before and the roads were absolute shit, but it didn't matter. We snatched it up and hopped into his ride, a little Chevy Cavalier with a pretty nice system in it as well. After the needless "Bathtub" intro, the deep groove of "G Funk Intro" kicked in and we were blessed by the rugged rhymes of the Lady of Rage. I've always considered the intro for the album one of the best found on any album, maybe even more than The Chronic's intro which is nice in it's own right. Rage sets the whole tone for the album and the beat just gets your juices flowing. From there, it only got better, as we both were big on "Gin & Juice", which obviously was released as a single later. My favorite song in those early days with the album was "Tha Shiznit", with it's repetitive bass line and Snoop just running rampant on the lyrical tip.
Snoop Dogg on the mic i'm about as crazy as Biz Markie, spark the, chronic bud real quick And let me get into some fly gangsta shit Yeah, I lay back, stay back in the cut Niggaz try to play the D-O-G like a mutt I got a little message, don't try to see Snoop I'm fin to fuck a bitch, what's her name it's Luke You tried to see me, on the TV, youse a B.G. D-O-double-G, yes I'ma O.G. You can't see my homey Dr. Dre So what the fuck a nigga like you gotta say Gotta take a trip to the MIA And serve your ass with a motherfuckin AK You, can't, see, the D-O-double-G, cuz that be me I'm servin um, swervin in the Coupe The Lexus, flexes, from Long Beach to Texas Sexist, hoes, they wanna get witht his Cuz Snoop Dogg is the shit, beeeitch!
Going back and listening to this track, makes me realize just how great Snoop was on the MC tip. His flow as flawless, that smooth gangsta drawl is just nearly perfect. I've never been a big fan of artists remaking classic hip hop track, and Snoop might have very well pioneered this practice with the remake of "Lodi Dodi". It did expose the Slick Rick and Doug E Fresh track to a legion of new kids that may have not originally heard it before. Then again, I remember listening to the original version once and some kid coming up asking who these fools were that ripped off Snoop. I had a hellva time trying to convince him that it was Snoop that was remaking the track. He did a nice job on the track, although I've never been overly crazy about the beat for it.
For me, the album really takes off on the second half ofDoggystyle, which also happens to be like The Chronic in the sense it's mostly a bunch of posse cuts in a sense, but they are all so dope. The most memorable and sing-a-long tracks were songs like "For All My Ni---z & Bitches" or the incredibly infectious "Ain't No Fun", with it's smooth sultry x-rated vibes. I can't count all the times me and friends would be blaring out this song on a road trip or something. It was a small glimpse of what was 213, the trio of Snoop, Warren G and Nate Dogg. I still like to forget that album they dropped as a group and listen to "Ain't No Fun".
While I think Doggystyle is a great album, to me it does have it's weaknesses. It's no secret that the album was rushed and judging by Dre's work record, we probably would've gotten the final Dre approved product sometime around 2001 with his other solo album. Despite, the rushed feeling, some tracks just don't measure up to some of the material found on The Chronic.
Final Verdict
You gotta love both albums, even though in some ways I blame them for "ruining" the west coast scene for the next few years that still hasn't bounced back. They just inspired waaaaay too many biters and copy cats. Both albums will always be soundtracks to a certain period in my life and for that reason, they will always have a place in my iPod, CD case, whatever I am carrying. If I had to choose one of the other (which is the purpose of this post), I just have to say that The Chronic is a more complete and throurough album.
Meth's self titled song first appeared on the classic "Enter The 36 Chambers", in 1993. It was Meth's solo introduction to the world, as it was the b-side to the Wu's first single "Protect Ya Neck" that dropped a good four to six months before the album was released on Loud Records. From the early interviews, Method Man was the general consensus of containing the most charisma from the bunch, which lead to the idea of giving him a chance to shine on the solo tip.
