Black Moon "Enta Da Stage" (1993)

Brooklyn based Hip Hop trio Black Moon may of beat Wu-Tang's "36 Chambers" claim to the first low-fi, gritty Hip Hop record even if only by a couple of months. Of course there are always precursors to such ideas emerging and Wu-Tang's demo tape date back to 91 but on occasions where their classic debut is discussed this record may get a mention, which is how I found my way to it. Unfortunately its not aged well, it didn't sell at the time and the groups trajectory declined with exception to 99s "War Zone" having some moderate success. Although the groups debut "Enta Da Stage" may not be well remembered it is definitely a must listen for any fan of east coast 90s Hip Hop.

Although a trio it is mainly rapper Buckshot Shorty who dominates the audio waves with a predominantly braggadocio rhyme style and easy to follow flow. There's plenty of gun play and street talk with little socially conscious substance but Buckshot is the sort of rapper who draws you in with his flow and entertains with violence, slang and lifestyle provado world play. Behind him an array of grimy beats with hard grooving drum loops, deep sub baselines and string arrangements coming together to conjure an urban atmosphere of danger. At times they have a slightly Jazz vibe with horn and flute samples but never for a relaxing or soothing moment, the record is always on edge, no thanks to Buckshot's aggressive delivery.

There's not a bad beat on the record but its not without its flaws. There was a time I couldn't put down this album, however over time the lack of insightful lyrical substance and rigid nature of the loops made it tire somewhat. Although the beats are tight there is little variation through the course of a song, with a couple of samples dropping in or out the songs they mostly remain the same for the duration of, which gets tiring after many listens.

This isn't true of every song though, a couple numbers are just timeless and credit to the sample selections, the chemistry is on point, its the composition and variation that lets it down. The mixing style is fantastic too, much of the gritty urban atmospheres comes from the narrow ranges the samples are squeezes into, filling much of the low and mid section. There is also some fantastic hooks from the group who throw together catchy group shouts in the choruses. "Enta Da Stage" has its place in history however for me It falls a little short in places of preference but not to focus on the negatives its a fantastic record well and truly worth your time.

Favorite Songs: Who Got Da Props, Buck Em Down, Make Munne

Rating: 8/10

Wu-Tang Clan "Enter The Wu-Tang (36 Chambers)" (1993)

Wu-Tang's 36 Chambers is the type of classic that demands to be listened to every once in a while and now with this music blog I am obliged to share with you one of the finest Hip Hop records there is. For its artistic merit, gritty beats and lyrical creativity the Wu-Tang Clan from Staten Island New York changed the game with their iconic 93 debut. I found this record in my young teens thanks to my mother who brought me this obscure looking record with its masked members representing an unusual theme, oriental martial arts. I don't have much memory of my initial impressions however I never stopped listening to it and over time its strengths illuminated with timeless beats and free lyrics that offered a wealth of flair and variety. Its status in Hip Hop's legacy is indisputable and RZA's production style created a massive influence still felt today. It has also been praised for its lower fidelity and gritty production style which it is actually not the first to achieve. Black Moon's "Enta Da Stage" beat them too it by a few months and we will talk about that record tomorrow.

So who are the Wu-Tang Clan? They are a group of nine rappers with a set of unique styles who came from the under represented area of New York, Hip Hops home. Putting Staten Island on the map, the Wu-Tang burst out of nowhere with the single "Protect Your Neck" that went against the grain, featuring a verse from each rapper consecutively without a chorus and barely a break for respite. It was the perfect showcase of the group unique chemistry. RZA's mastermind beats utilizing soft piano samples between dingy string samples over foggy baselines while eight of the nine dropped classic verses with wildly fresh and innovative rap styles.

With the talents of Raekwon the chef, Ghostface Killer and Method Man the group had an array of distinct voices and styles that brought about the "free association" rap technique. In a non linear delivery many strings of rhymes can be heard in an associative manor, focusing on wordplay and creative rhyming to forge a scene or concept in contrast to walking the listener through a narrative. It can be heard sporadically though the record and would be further elaborated on by Raekwon who really masters the style in his solo records. Even in traditional verses the Wu-Tang rock it with an endless arsenal of classic lines that will have you memorizing it all, just take the opening track "Check it, my method on the microphones banging, Wu-Tang slang will leave your headpiece hanging"... and that's just the opening number with its four mighty verses. Classic stuff, the group have mesmerizing and in moments ludicrous flows, these verses are intoxicating and even littered with cryptic lyricism. "We usually take all niggaz garments"... W.U.T.A.N.G!

Another classic aspect of the record is the theme and sampling from 70s and 80s Chinese martial arts flicks which the group were obsessed with, their name taken from the "Shaolin and Wu-Tang" movie. There's tones of fantastic samples, from clashing blades in sword fights, the ughs and arghs of fist fights and plenty of Wu-Tang vs Shaolin narration that gives it a timeless charm, one Ive never heard anyone try to imitate, the Clan truly own it like no one else could. It plays so well into RZA's production style which extends beyond this record alone, helping his clan launch their solo careers producing many of their debuts if not all. RZA steered away from clean production and explored the charm of lower fidelity which can conjure a different range of moods and atmospheres. Deep muddy baselines, rugged drum beats and oriental instruments create an air of mystery around the rawkus rap energy. More conventionally the sampling of soft pianos and classic strings would become an inspiration for many future producers.

There's barely a flaw, literally nothing to nitpick on this record, the only thing I could ask for is more. Another aspect I adore is the drifting moods that occur as it plays through, from rough, rugged aggressiveness the album can get playful and grooving while finding a few sorrowful spots with "Can It Be All So Simple", "C.R.E.A.M." and "Tearz". Although drenched in its mythic martial arts it has a real grounded connection to the lives of the artists and servers as another fantastic story of rags to riches through their art. Wu-Tang could never top this, I think that much is inevitable from day one and this record will be celebrated for as long as Hip Hop lives on.

Favorite Songs: Bring Da Ruckus, Da Mystery Of Chessboxing, Wu-Tang Aint Nuthin Ta Fuck Wit, Protect Ya Neck

Rating: 10/10

The Underachievers "Evermore - The Art Of Duality" (2015)

Young Hip Hop duo "The Underachievers" from Brooklyn, New York are back with a follow up to last years debut "Cellar Door"! A dark and mysterious record with modern instrumentals, speedy raps and lyrical substance, somewhat of a rarity in this era of Hip Hop. The two showed a lot of artistic intelligence and there potential has been truly realized on "Evermore" where the two step up there game with bigger raps, tighter themes and another set of quality instrumentals. The record is split into two half's as the cover would suggest, the light and dark side, both fleshed out in concept and sound.

The two rally back and forth with engaging heart felt raps, telling there life stories and introspective thoughts with a touch of class in lyrical delivery that never takes the foot of the gas. Spitting fast coherent rhymes through their distinctive flows, I find myself reminded of the greats like Nas and Rakim who could engage from start to end as these two do for the most part of this record. Delivering positive messages of expanded consciousness and awareness the two struck a nerve with me and reflected a lot of my attitude towards the importance perspective and our roles in a collective experience with deep and meaningful ideas and lifestyle suggestions. The rhymes are on point as are the beats, the bright side complimenting their narratives with alien, exotic instrumentals full of spacey synths and harmonious oddities with a positive soul. There's a nice spread of variance, "The Dualist" getting generously jazzy and the record fails to repeat itself keeping each instrumental unique.

"Reincarnation" marks the dark side of the record with a deliberately evil and menacing trap instrumental. The two shift gears bringing the battle raps and boisterous rhyme spitting to prove there worth. The ghostly "ah ha" echoing confirmations return and a lot of the focus shifts away from the conscious raps and catchy hooks drop in as a focal point around the mean, showoff rap style. The instrumentals follow a similar spacey vibe but flow in a mysterious direction with trap beats pounding out fast fluttery hi hats and aggressive snare kick grooves.

The first half definitely takes the biscuit with much deep wisdom to be found in the lyrics and the instrumentals shine brighter than their counterparts, that's no pun. These were some of the best Hip Hop tracks I had heard this year. The second half is a mark behind but still fantastic and engaging. The duo really came through on this one, proving their potential and elevating themselves as artists with a focused and meaningful effort that turned into a memorable record I've been unable to put down.

Favorite Song: Star Signs

Rating: 9/10

Jay-Z "The Blueprint" (2001)

American rapper Jay-Z needs no introduction, a household name around the world he dominated Hip Hop in the naughties as an artist and a business man who's built a substantial amount of wealth. A true rags to riches story of a young man who went from drug dealer to international rap star. I've never found myself drawn to his music, however I adore the Mafioso Rap debut "Reasonable Doubt" he dropped in 96. Watching the movie "Dope" the lead character referred to this record as the end and "exclamation point" of the 90s era I love so much. Of course I promptly picked this one up and found a couple of familiar songs, "Izzo" I remembered from MTV in my youth and "Renegades", a menacing and dark duet with Eminem who drops a classic verse from the prime of his defining style.

So "The Blueprint" is hailed as a classic, and picking up a record like this its hard to avoid the acclaim and ratings the record received. It certainly set the bar high, but didn't get my blood pumping around the clock. That being said its a mighty fine record illuminated by production from Just Blaze and Kanye West who both make their breakthroughs with a fine set of instrumentals that was the highlight for me. It steps away from the radio rap of "Volume 3" and brings a soulful vibe to snappy beats with a variety of kits and themes to keep the track running fresh. The track "Girls, Girls, Girls" is a blinding moment on the record, Just Blaze sampling Tom Brock to perfection, a true example of what the art of sampling is about. Legends Q-Tip and Biz Markie dropping in with the hook borrowed from the oldskool Crash Crew while Jay-Z talks about his promiscuous lifestyle.

The record opens up with Jay-Z making his return statement before dropping into a diss track aimed at Nas and Mobb Deep, I know Nas's response "Ether" and "Takeover" pales in comparison but to give Jay-Z credit the raps are tight and creative but again the magic comes from the beat with its rumpus baseline and baron atmosphere characterized by samples between the kick snare and bass groove. Jay-Z's raps are alright, hes straightforward, easy to follow and light on the ears, but quite honestly he rarely does much to grab my attention. Sometimes a rapper just can't do it for you and its hard to put my finger on why. He did drop a couple of great lines though "I sell ice in the winter, I sell fire in hell, I am a hustler baby, I sell water to a well" is one that's stuck in my mind as well as his tragic mathematics on the diss track, somehow calculating four records in ten years is a two in ten average.

The only other times Jay was grabbing my attention was dropping references or recycling classic rap lines. The best rap came from Eminem on renegade, also with a fantastic hook chorus. I walk away from this record dazzled by the production, desiring more from the lyrical substance and understanding its reputation. Surprised I didn't find this one sooner but there is an ocean of music out there and the size of a name is rarely a hook to pull me in.

Favorite Tracks: Girls Girls Girls, U Don't Know, Holla' Hovita, Heart Of The City, Renegades

Rating: 8/10

The Lox "Money, Power & Respect" (1998)

The LOX (Living Through eXperience) are an American trio from Yonkers, New York who signed to Bad Boy records in 1995. Impressed with their feature on the track "Last Day" from Biggie's "Life After Death" I decided to check their debut record out which came out the following year. It struck me as a record lost in the flood of records that made up the bling era, but one with substance and character that could stand on its own two feet and still sound great today.

Initially I was a little slow to get into this record. The production comes off as being caught between two eras. The vibes of these tracks fall in line with the styles of the late 90s where money and success was the image most rappers tried to portray, but the sampling, loops and instruments didn't have the clean cut sound and had the rawer early 90s fidelity about them. Across the 21 tracks their are a few great beats, but most of them sit a mark above average, making for a record that does little to offend, but often falls a touch short of being great. Some of the best moments come from the numbers that embrace RnB influences through calmer vibes and harmonious guest vocals that flesh out the choruses and hooks.

The trio of rappers are clearly talented, possibly the best Puff signed alongside Biggie. Each bring a distinctive tone and style but Jadakiss a mark above his counterparts Sheek Louch and Styles P. Puffy's appearance on the record was once again irritating as he makes affirmative remarks in the background of tracks, but its to be expected on Bad Boy. The album is probably a little lengthy at 70 minutes, but it personalty gets better as it progresses, moving away from success oriented, boisterous tracks in the beginning and developing uplifting vibes in the later half. It's an interesting debut that very much fits the mold of the time and comes across as a little disposable but theres some substance to be found here.

Favorite Tracks: Let's Start Rap Over, I Wanna Thank You, Can't Stop Won't Stop, All For The Love, So Right

Rating: 5/10

Craig Mack "Project.. Funk Da World" (1994)

Having recently discovered Notorious BIG's "Life After Death" I decided to do a little research into Big Boy Records where I found Craig Mack and his 94 release "Project.. Funk Da World". It was the New Jersey based rapper's debut and Bad Boy's second release one week after Biggie's "Ready To Die". The cover and name drew me in, it had that early 90s look and feel but as they say, never judge a book by its cover. My first listen through had me pretty settled on my opinion of this record and nothing has changed since.

Project funk the world is all style, no substance. It opens with a mediocre grimy low-fi beat reminiscent of Jeru The Damaja's "Come Clean". Craig comes in with a subdued, yet boisterous energy and gruff, slurred accentuated delivery and a tone reminiscent of Redman, the vibe is set and I was hyped for what felt like the beginning of something great, but quickly the rain put out my fire and enthusiasm for this record crumbled as the tracks droned on through a stale and dull chemistry which doesn't hold up against the better records of the era.

Firstly Craig's raps don't evolve beyond a funky fresh flavor filled braggadocio of 90s lingo and buzz words that cycle over and over, reminding us hes got the style and all other MC's don't. To be fair there's a bunch of great lines in this record, but they are far and few between. Craig drop's these lines in the midst of sluggish verses that roll through the same boasting topics over and over again. His chopped up flow and accentuated delivery build some excitement, quickly dampened by lyrics which lack substance. There's about one sniff of an interesting topic somewhere in the track listing but its too little to save the record from the bluster. 

Second, the beats, to be fair the production isn't half bad but lacks the polish and spark to stand merit on their own, and with Craig not bringing much to the table these samples and loops feel pretty stale as they cycle under an underwhelming performance. Overall its very much half and half, but with a lack of lyrical substance from Craig it becomes a disappointing and forgettable record I have little to say about.

Rating: 3/10

Notorious B.I.G "Life After Death" (1997)

I can't recall how or why, but from an early age it got stuck in my mind that Biggie was a rapper I didn't like. About nine years ago a colleague turned me onto "Ready To Die" and I wouldn't denied that I really enjoyed it, despite still being a little skeptical of the New York rapper. Over time my preconceptions subsided and I grew a lot of respect for one of Hip Hops finest rappers. "Life After Death" is the first posthumous from Biggie who's fatality came two weeks before this record release. Upon recently discovering this I had to give it a listen, I had been under the impression all these years that this one was like "Born Again", a collection of outtakes thrown together without his input, but the album was completed before his death. Its almost eerie to see the cover now, the hearse, the title predicting his mortality and behind it all an absolute gem I've missed out on all these years.

Life After Death quickly makes its mark, your eight tracks deep and realizing every track is a classic. The bold formidable attitude of Biggie's raps gravitates with sleek, crisp gangster beats creating fleshed out immersible themes that dive into Mafioso Rap thanks to excellent production from Puff and a wide array of collaborators who brew a consistent, flowing record thats flexes between mob threats, to Biggie rapping over oldskool classics (Schooly D) and jumping into disco party numbers and back again with a natural flow within the diversity. Theres 110 minutes of fine Hip Hop full of beefs, drama and digs, classic verses and anthemic beats that take a leading step into the money and success bling era of Hip Hop. 

Across the record Biggie brings in a fantastic selection of features that bring their own style to his, Bone Thugs-n-Harmony bring their tuneful gangster melodics to "Notorious Thugs", Jay-Z with his champaign sipping "I Love the Dough" produced by Easy Mo Be sounding like a "Reasonable Doubt" outtake. R Kelly crafts a seductive, alpha male, 90s RnB track "Fuck You Tonight" that works despite being the most polarizing track on the record. The Lox join Biggie on "Last Day" for an East Coast gangster track reminiscent of Mobb Deep. It was a refreshing approach to collaborations and really stood out as a strength for this record, keeping the flow varied and oozing with variety as Biggie lends the spotlight to his guests to make some classic collaborations.

The production on this record is the finest Ive heard in a while, you can hear its relavence to bringing the bling era to the mainstream with sleek stylish sampling and drum programming taking a step away from the rawer, bombastic early 90s sound. Its forward thinking in the record their are some dazzling moments. "I Got A Story To Tell" rattles a sleek groove between snare claps over a guitar sample for the entire song, and its repetition is perfect for Biggie to flow a fantastic story over. "Last Day" features a slick emphasis as a rolling bass drum kick grooves under the tracks best lines. Easy Mo Bee also grabbed my attention with some fantastically crafted numbers, including "I'm Going Back To Cali" which plays of the aesthetics of  Dr.Dre's "California Love", including the memorable vocoder effects.

Biggie's raps speak for them-selfs, smooth flow, engaging and his flustered tone is easy on the ears, but trying to analyze a little deeper has always been a little difficult, hes got a charm thats hard to put your finger on, but this record has me believing its the lyrical creativity, obviously, but how its delivered through flows where Biggie drops rhymes to his own grooves thats not strictly in line with the beat. The splitting of words to match his groove is also a finesse touch, and I love his singing voice on "Playa Hater", a crude cover of "The Delfonics". Its unapologetic, humorous and enjoyable. Life After Death is a classic I can't help but love, and will be one I turn to often. My only qualms with this record is Puff throwing himself into the background of a lot of tracks, laughing and being unnecessary, its an annoyance. The second disc also has a couple of track not quite at the level of the first, but they are still great songs. Terrific record, very glad i found my way to it.

Rating: 9/10

Guru "Jazzmatazz II The New Reality" (1995)

And we are back with the second installment of the legendary Guru's solo career records, "Jazzmatazz". This second record takes of where the last one left, giving us another helping of socially conscious Hip Hop fused with a current of Jazz that feels natural and organic. Its a chilled out record that doesn't try to push any new boundaries, but create a collection of enjoyable tracks within the parameters of the two music styles joining together. It has the same strengths and weakness as its predecessor, which wasn't much surprise, but did pull out some better numbers without changing the formula.

Just like before the production builds from a traditional format of samples and drum loops with a pallet of jazzy sounds and instruments that include guest musicians who contribute inconsistently as some numbers rely on samples, and others on live musicians, ie "Respect The Architect" which has pianist Ramsey Lewis gently painting the entire track with feel good keys, adding a steady variety over the repetitive beats. The inconsistency between ideas probably contributes to a varietal, richer listen in a record that has a fair few distinctive beats, but mostly its the instrumentals that take the light, rather then the guest musicians who include Brit Jamiroquai and Reggae singer Ini Kamoze.

With a fair collection of strong instrumentals Guru's presence is calming and laid back, which is fine but often his rhymes and presence on the track drift into the background as the messages and lyrics he convey are delivered in his typically one dimensional flow. Guru's tone and flow is steady but lacks an excitement or spark that leaves much of the lyrics out of mind. Theres plenty of positive messages and social commentary, but none of it packs a punch or a thought to ponder, and although the message is a good one, its delivery is tame. Overall its a collection of warm jazzy beats and mediocre rapping thats exemplified on "Count Your Blessings", where Guru tells his story of developing a positive outlook, expressed without any resolve or understanding that can be gravitated towards. I'm not hating on Guru, I like his style and hearing him flow, but here its an aesthetic enjoyment, more so than being at the mercy of his words.

Favorite Songs: Living In This World, Looking Through The Darkness, For You, Nobody Knows, Respect The Architect, Young Ladies, The Traveler, Choice Of Weapons

Rating: 5/10

Joey Badass "B4.Da.$$" (2015)

"B4.Da.$$" or Badass, is the debut record of young rapper Joey Badass from Brooklyn New York who at the age of 15 made waves with a youtube video of himself freestyling and has since been active making several mixtapes leading him to a record deal that saw this drop on his 20th birthday. Its a strong debut that feels like the 90s was frozen on ice, as if we never moved on from that classic early 90s sound, that notably happened just before his birth. Its a surprisingly mature album, musically and lyrically Joey is smart, and offers a lot of substance on this one with no cheap thrills.

Production wise, this album uses hindsight and retrospect like an art. Track to track touches on many vibes from Boom Bop to Jazz Hop, theres grittier beats reminiscent of "36 Chambers" and Gangster Rap and uplifting soulful numbers with hints of RnB and Soul influences that can be heard in the choice samples. The quality is sublime, even with a modern production value these songs could easily fool you to what decade there from without closer inspection. The best of many styles of that era are cherry picked on this record that has 15 diverse choices, giving each one a flavor reminiscent of many classic beat producers. Towards the end of the record a few modern ideals creep into the mix, keeping things fresh and offering some new ideas as well as old.

As a young rapper, Joey's got a lot going for him, but its his potential to be truly great thats exciting. Hes got a chilled flow and great pronunciation and can change up his approach, pulling the aggressive style on tracks like "No. 99". With fantastic beats Joeys presence doesn't always find itself being the show, and as I played this over and over I found that a lot of his raps accommodated, more so than dominated. The most distinctive moments I remember where lines that are reuses of Nas's "Illimatic" and Wu-Tang's "C.R.E.A.M." with "Cash ruins everything around me", theres a couple of cool hooks like the "Check my style" on "Big Dusty" but most of his raps tell a tale without the articulation to really drive a home run. He's engaging in his moment, and pleasant to listen to, but I feel he has potential to improve and with this record has set himself up for great things if he can step his game up.

Another pleasant point to bring up is the maturity he shows and choice of topics, very little flash and a lot of substance, food for thought. You can tell he gets this wisdom from his mother hes so fond of, you can hear her offering him valuable advice on "Chicken Curry" about perspective and how he will known for how he's perceived, more so than who he thinks he is. Overall I felt the production and his attitude were the highlights on a very promising debut that will have me highly anticipating his second, whenever that comes around in the future.

Favorite Tracks: Save The Children, Piece Of Mind, Big Dusty, Christ Conscious, On & On, Escape 120, Curry Chicken
Rating: 7/10

M.O.P "Warriorz" (2000)

Browsing through my archive, looking for something to work out to, I stumbled across this record which I had not listened to in years. M.O.P. are a Hip Hop duo consisting of Billy Danze (left) and Lil Fame (right) from Brownsville New York. In 2000 the group peaked commercially with this, their fourth record, Warriorz. Hit songs "Cold As Ice" & "Anti-Up" saw unexpected mainstream success at a time when Eminem & Dr.Dre's popularity was undoubtedly influencing mainstream's exposure to Hip Hop music, and opening the doors for other artists. Although its not a classic, this record was a favorite in my youth at a time when I was discovering the worlds of Hip Hop and Heavy Metal. "Anti-Up" was especially successful, so much so it charted in the UK outside the usual alternative charts which it topped. Ill never forget hearing two old radio presenters on BBC radio one loving the track and getting into it, rapping along with the song live on the air.

The duo have a dynamic relationship, complimenting one another at every turn. M.O.P. deliver a lot of energy through their raps and fiery vocal delivery. In their stronger, energetic moments the two back up each others rhymes and chime in to echo one another in an interlinking manor. Its not uncommon to hear rappers support other rhymes, but the two do it in a hyped and intense character that is their own. Both Danze and Fame have big, loud delivery and slightly gruff tones to their voices, their frenetic, shouty flows are attention grabbing and make for a fiery delivery of their lyrics. The content is surprisingly tame in retrospect. Lyrically they write solid raps, but the violence isn't quite what I remember, lots of stories of street life and coming up from it, but next to no misogynistic lyrics which has become so commonly associated with Rap music. On the track "Face Off" Danze delivers the a verse that stuck in my mind all these years, a track of two distinct half's that goes from struggle to swagger, "I'm a mess with stress, though I present it with finesse, sometimes I feel as if my heart is coming out my chest". A dramatic expression which Fame's verse in the second half goes in another direction. Across the record the two deliver many gripping stories and thoughts to dive into.

The beats that back the duos energetic presences are solid, audacious, polished works finely constructed with drum machines, electronic instruments and unimposing sampling that reflects the 90s-00s era. With production from DJ Premier its not surprising the quality is high. The beats have that composure and air about them, similar to Dr.Dre's "2001", that give lots of room for the drums to deliver tightly composed kick and snare grooves, accompanied by clear, melodic keys and instruments that drive home catchy melodies and kicks. The albums first half is strong, tight beats, a range of themes and a tribute to the oldskool, but the second half does tire a little as the album spans seventy minutes. Despite a range of creative beats the formula stretches on to a couple of good tracks near the end. Terrific record from my youth that still sounds great in its best moments.

Favorite Tracks: Everyday, Ante Up, Face Off, Warriorz, Old Timerz, On The Front Line, Cold As Ice, Operation Lockdown, Foundation.

Rating: 7/10

PRhyme "PRhyme" (2014)

PRhyme is a collaboration project between legendary producer DJ Premier & Rapper Royce Da 5"9 who is known for his early association with Eminem. This mini album consists of 9 tracks and the opening track "PRhyme" focuses on the idea that the pair are in their creative primes, It sets the tone for an album of solid raps and beats that would certainly indicate both are in a creative warm spot. The two have a decent chemistry that gives the project liquid cohesion and defined character.

Premier's production is as finely tuned and crafted as you'd expect from such a veteran, bringing forth that 90s feel through approach as these tracks are littered with scratches and vocal samples from fellow 90s stars like Nas, Method Man, KRS-One & Gang Starr. The beats themselves are generally urban and darker in mood, taking a subtle roll providing backing for Royce to shine. These beats, although solid, sit in a comfort zone that sees little experimentation, taking on only a few modern aesthetics and ideas. Its not a negative point, but if your looking for something new and progressive this isn't that.

Royce is consistent and vibrant on this record, bringing an enthusiastic and motivated flow to each song as he narrates some stories but mainly delivers a boasting array of raps with a musing touch. Consistency would be a key point for me, there was no point where Royce failed to hit the mark, yet none where he really goes beyond, his best lines where from referencing Notorious BIG, "Kick in the door, wavin the four four".

The record as a whole is short and enjoyable, solid and flavorful, but perhaps lacking a depth to keep me coming back. After a few listens I feel like I got all the record had to offer and there were only two tracks I wanted to come back for. The 90s vibe was welcome but didn't really add to the body work thats already out there, one of the better beats was "Microphone Preem", utilizing a loud harsh snare and giving it something a little more unusual which could of made this project a little more. Overall a great listen to digest, but a lack of anything special.

Favorite Songs: You Should Know, Microhpone Preem

Rating: 5/10

Ice Cube "Amerikkka's Most Wanted" (1990)

American rapper Ice Cube may have a different reputation in this generation, but back in the 90s he was one of Hip Hops finest. He made an explosive debut with N.W.A. on "Straight Outta Compton", an all round classic that set the group on a course for world domination. Cube made a sudden departure from the group in 89 following disputes over his contributions the the lyrical contributions on N.W.A. and Eazy-E's albums. He was the groups most talented rapper and walking away from something as prolific as N.W.A. was a bold move. In retrospect it has served him well. "Amerikkka's Most Wanted" is Cubes solo debut and one of the first rap albums I got my hands on. As a kid I loved this record and having picked it up for the first time in years I was blown away by the lyrical and instrumental content of this record. Its still angry, violent and explosive, and more so feels relevant following the racial unrest in America in response to police brutality. "How the fuck do you figure, that I can say peace and the gunshots will cease? Every cop killer goes ignored, they just send another nigga to the morgue". Not only relevant, but a sad reminder this has been going on for decades.

Cube has it all, voice, flow, lyrics and inspiration. We find him here at his peak, delivering a record fueled by anger and frustration towards racism, police brutality and social injustice, as well as aiming some raps at radio stations and telling stories of life in the wrong neighborhoods. His flow is sublime, a fast yet sturdy pace delivering fueled raps with an audible grace, every word is crisp and easy to follow. The content is even stronger, Cubes story telling is engaging, passionate and structured. Every track keeps you locked in to the stories which unfold steadily. Theres a lack a filler, Cube keeps banging out the rhymes from start to end with many tracks ending with a sudden feeling as Cubes intensity fails to dwindle before the end of the verse. His engaging and charismatic style is genuine, one of the most talented to grace the mic.

Lyrically this record is extremely progressive in the context of a rappers freedom to express oneself. Its no surprise coming from the group who drew FBI's interest with the classic "Fuck The Police" that Cube would kick up the heat with violent and aggressive raps, flirting with sexist and racist themes that would make this record a focus for controversy and censorship, ultimately paving the way for more expressive freedom in the future of Hip Hop. For all thats ruthless or vulgar depending on your perspective, it comes in a relevant and necessary context as Cube raps stories about crack dens, drive byes and a girl from the projects who claims to bare his unborn child. Cubes dynamic story telling here is stark and unforgiving, telling everything how he sees it, not dressing it up for record sales or commercial success, which this record ironically became a huge success at the time. 

Cube's known as a west coast rapper, but on this record we have production from the legendary Bomb Squad who work with Public Enemy. Their contribution is monumental, providing the backing for Cube that makes this record a classic. Their beats are energetic and layered, bringing that unpredictable and dizzying sound, but packaging it up with a flavor that really differentiates the style from their work with Public Enemy. These beats have got bounce, groove, and best of all they are crafted and catered to Cubes input, following his lead and providing plenty of breaks and variants to keep these songs vibrant as Cubes mesmerizing raps suck you along the course of these instrumentals. Its a fantastic chemistry, one we will never hear again, and for all the positives I've talked about, it has to be said the second half of this album is a grade behind the opening 8 tracks, after the comedic track "A Gangsta's Fairytale" the albums sound and tempo varies as production from Sir Jinx doesn't follow the energy laid down by The Bomb Squad, the track "Who's The Mack" even sounds like a prelude to Ice Cubes later releases. Blinding album, the first half of which is pure classic.

Favorite Tracks: First half of album.

Rating: 9/10

Wu-Tang Clan "A Better Tomorrow" (2014)

Wu-Tang Clan, the legendary once nine-piece rap collective shook Hip Hop with their rough and rugged style. Cut with Kung fu movie samples over gritty low fi beats, their lyrical talents flourished and shined bright. Their debut "36 Chambers" became a classic and follow up "Wu-Tang Forever" established them as a dominant force in hip hop. The release of this album was a complete surprise to me. The last I heard of the Wu-Tang they were working on a double album that only one copy would be produced and sold. The record would go on a tour around the world for fans to listen too before being sold of to the highest bidder, leaving the future of the album in their hands to do as they please. Its was a interesting idea, and an fascinating way to earn money in the changing landscape of record sales. I've since learned that they recorded that 31 track album alongside this new record "A Better Tomorrow" which suggests a return to form. It arrives 13 years after "Iron Flag", and 7 since the disappointing "8 Diagrams".

The album opens with "Ruckus In B Minor", including samples from the late ODB who's inclusion in this record feels fitting and respectful. He pops up throughout this album which as a whole feels patchy and inconsistent. There are some terrific beats, samples and verses throughout and a variety of themes but conceptually it feels like a few ideas and concepts have been thrown into the mix. There are some darker, grittier tracks "Necklace", steady movers "We Will Fight" / "Keep Watch" and positive uplifting tracks "A Better Tomorrow". The progression feels scattered as these tracks jump from one mood to another. The start and end feel like the better parts of the record, the middle includes the cover track "Preachers Daughter" that felt unnecessary and was soured by RZA's "singing" in the chorus, I'm a little mystified as to how they thought it worked, because it didn't, it was flat.

Inconsistency may be the theme so far, but should not undermine the quality on display. The beats are sharp, creative and on point, and at times capturing that classic Wu sound. The rapping may not but as classic and memorable as those endless recite-able verses on "36 Chambers" and tracks like "Triumph", but its a return to form, and there are decent verses scattered throughout, with everyone sounding there usual selfs. Method Man was most notably a notch above everyone else, always sounding fresh and energetic with his charismatic flow, dropping a great verse wherever he went. Overall this album could of been a mark or two better, what we want from the Wu-Tang is here, the group are just not as in sync as they could be. Theres great verses, beats, but rarely all in the same track. Ironically I felt the best tracks were "A Better Tomorrow" and "Wu-Tang Reunion", two soulful movers with great vocal leads, a contrast to their usual style, but two where they came together for the idea. A great album for fans, but leaves a taste that something better was possible.

Favorite Tracks: Mistaken Identity, Hold The Heater, Pioneer The Frontier, A Better Tomorrow, Wu-Tang Reunion

Rating: 5/10

Guru "Jazzmatazz I" (1993)

In my exploration of Hip Hop music I'm somewhat bemused that I missed this record. Guru being one half of legendary Gang Starr, the fusion of Hip Hop and Jazz being a favorite of mine, this record somehow managed to elude me until recently. On this record Guru lays out an interesting approach to the fusion, brining in other established and respected musicians in the Jazz scene such as Donald Byrd to accompany him on the record. Initially I anticipated the Jazz aspect to take a bigger role in the direction of this record because of these collaborative artists, however it turned out not to be so.

The Hip Hop formula is prevalent here with drum loops, samples and verses carving each song into 4 minute tracks with the commonplace verse chorus formula. Many of the Jazz instrumentals feel sampled or looped, with only a few spare moments for the guest musicians to take the lead, not quite what i initially expected, but certainly not a problem, this is an enjoyable record, but one that utilizes the vibes and styling of Jazz into the Hip Hop mold.

Guru is average by his standard this record, theres many enjoyable verses and moments throughout, but nothing that quite sparks and sticks in the mind like some of his raps with Gang Starr. Theres also a great guest appearance from French Rapper MC Solaar. Despite not understanding a word he says, his voice and flow are indulging. The shine on this record comes from the beats and relation to the Jazz element, with the memorable tracks made by the instrumentals. Overall a very enjoyable fusion of to style I'm fond of, but far from being anything exceptional.

Favorite Tracks: Down The Backstreets, Le Bien, Le Mal

Rating: 6/10

A Tribe Called Quest "The Low End Theory" (1991)

Where has this album been my whole life? Right under my nose. I've had this Hip Hop classic for years, yet it was only earlier this year i gave it a proper listen. And oh my, what have i been missing out on? A lot. I also found out after getting deep into this record that Tribe played their last live shows last year. I had no idea they were still playing shows. I am sore but lets not dwell on that. Lets talk about this wonderful album.

Tribe are an upbeat, positive Hip Hop group from Queens, New York who broke out the year before with the classic "Can I Kick It". This album represents a fitting evolution in the groups sound that gave birth to one of Hip Hops greatest albums of all time, The Low End Theory has the trio bringing there very best to the table. Q-Tip's production on this album is inspirational, every song has fantastic chemistry between the beats and samples that make for some memorable jazzy, grooving tracks that will get you moving (Sky Pager). Theres many choice edits and breaks to keep the beats feeling fresh throughout, which is an art in itself considering the repetitive nature of Hip Hop beats. 

On the lyrical front Q-Tip & Phife Dawg are at the peak of there game with fantastic street wise & socially conscious story telling songs that have many memorable lines that will get stuck in your mind  (Yo! microphone check, one two what is this?) . Collectively there flow is just right for these beats and you couldn't picture having anyone else on these tracks... Saying that, Busta Rhymes makes an welcome appearance on Scenario, the albums darkest track. All in all the chemistry here is on point as a Tribe at there peak deliver a Hip Hop classic.

Favorite Songs: Butter, The Infamous Date Rape, Everything Is Fair, Sky Pager

Rating: 9/10