Puff Daddy "Forever" (1999)

I couldn't help myself, despite its poor reputation and some bad reviews I had to check out Forever. My love of No Way Out had me searching for more of the same on Puff's "solo" release, dropping the "Puff Daddy & The Family" moniker. It is perhaps telling of an album that focuses more on Puff as a rapper than producer yet it suffers from both mediocre production and a lack of spice the Bad Boi family brought on the last record. Despite almost every track having a feature, including the likes of Nas, Redman, Busta Rhymes, Jay-Z, Bizzy Bone and a posthumous Biggie, the album fails to ignite a spark as it lulls through the motions.

Forever opens with a track to set the stakes high, the pressures of Puff's situation encapsulated with news sound bites, sirens, lightning strikes, gun shots and tribal singing slowly elevating with heavenly choral chants, spinning chopper blades and soaring bagpipes. Its an ambitious tone which slips away into the slick and pristine production of tight kicks and dazzling electronics sparkling around the piano melody on What You Want. You can hear the problem when Puff steps on the mic, his flow soft, timid and to calm to be the lead voice. He gets his point across with decent lyrics but the delivery lacks immediacy and energy to elevate the beat, his casual conversational style would prove to fall behind the production on almost every track.

 Do You Like It encapsulates a lot of this record, super slick late nineties production comes to life with tight snappy drums resonating off futuristic synths rattling electronic zap noises around the key vocal sample as the baseline strikes sparingly. Its one of the better tracks as Jay-Z brings it to life with a stronger, superior presence as a voice with power. Unfortunately this vision fades as quite a few weak cuts dilute the run time as the albums better instrumentals are drowned out. I must mention Pain, a brilliant sampling of the opening chords to Les McCann's Benjamin, however it was done better a few years back by Mobb Deep.

Puff's self obsessed, status oriented ego dominates the albums tone, every other song is affirming his wealth, success and it seems he is paranoid of anyone who doubts his riches. It gets tiring quickly and manifests into a handful of weak interludes that border being laughable. This obsession with status and perception reaches a bizarre point with the return of the Mad Rapper, Puff appearing in his dreams to rob him. Its a strange moment right before the closing track which no doubt is the records best cut. Puff declares himself as public enemy number one for a song almost redeeming of the record. A banging beat and enthusiasm in his rhymes goes a long way to create a bright end to a dull record.

Favorite Songs: Pain, Reverse, P.E. 2000
Rating: 3/10

Wu-Tang Clan "The W" (2000)

After a dive into their sophomore double album Wu-Tang Forever I thought Id reacquaint myself with the nine man clans third which includes the groups most known song "Gravel Pit" and a personal favorite of mine "Protect Your Neck", a warm rap track with a sunny groovin baseline, fills me with fond memories of downloading the MP3 from Napaster! The record has a fine flow, The RZA's production dials back the gritty and raw in favor of tighter aesthetics with slick drum kits playing off grisly, funky baselines loaded with 70s samples. The tracks roll off one another, from rap brandishing pedestals to moving message oriented songs with soulful samples the record would be solid if it wasn't for a couple of duds.

What makes The W noticeably different is the inclusion of artists outside the Wu-affiliation circle. Old Dirty Bastard turns up on just one track, bringing along legend Snoop Dogg for the lousy "MC conditioner" hook and forgettable verses on an average beat with demo quality recording quality vocals from ODB. Snoop is mixed in quietly between his verses, its a a real flop and also the albums longest track. On the shortest Busta Rhymes turns up on a quirkier, temperate beat that doesn't suit his hyped style. Aside from those weak points, rappers Redman, Nas and Streetlife turn up with sharp rhymes worthy of the Wu. The reggae voice of Junior Reed and deep soulful tenor of Isaac Hayes light up their tracks with fantastic contributions too.

Even with a host of accomplices, no one outshines the Wu at their own game. The Shaolin style is prominent as to be expected, the rhymes and beats sharp and on fire, perhaps with a little less hype and rawness as these are now seasoned veterans calculating their moves in battle. "Careful" takes the cake as the records best song, a mysterious tomb raider alike beat sets the stage for a string of classic group shout hooks, each rhyme playing of the last. "Something in slum went rhum-peh-pum-pum". Great album, the following Iron Flag is unfortunately the drop off point for the group.

Favorite Tracks: Careful, One Blood Under W, Protect Your Neck, I Cant Go To Sleep, Gravel Pit

Rating: 8/10

Wu-Tang Clan "Wu-Tang Forever" (1997)

Four years passed and following up on their uncompromising classic debut Enter The Wu-Tang 36 Chambers, the nine rapper clan from Staten Island dropped an ambitious sophomore double LP intent of solidifying their place in Hip Hop's legacy. Clocking in at nearly two hours of music the group give their all for a lengthy record that perhaps suffers from its own ambitions as mediocrity in the beats and rhymes fill the gaps between strokes of sheer brilliance. There is undoubtedly a 36 Chambers worth of gold in here but drowned by a lack of filter the record suffocates itself with.

 

  I'm guilty of letting this record pass me by in the past, obviously "Triumph" is a timeless classic but beyond a couple of spins many years ago I never got into the rest. It wasn't until a recent discussion with a friend that I was encouraged to give it a proper try and so over the past few months Ive taken select moments to run through the two hour experience. What I leaned quickly is the best is loaded on the first disc and the second half unfortunately drifts. If that's listening fatigue, who knows? One things for sure, Ive missed out on some classic, banging Wu-Tang tracks all these years!

Forever is a measured step from its predecessor, not ready to leave the dirty, gritty beats behind it finds itself with a sharper, keen production, with a clarity the band steer clear of exploiting with a dirty, bold production from the RZA who keeps his beats rugged and raw, deploying similar production ideas from before and even some echoed drum loops and hooks heard on 36 Chambers. Raw sampling and forced chemistries illuminate the rhymes as the vocal fidelity stands a front, with each of the nine and guests like Cappadonna given a spotlight to shine as the beats spin on loop.

And shine brightly do they, Forever's most impressive moments come from the dexterous words of the nine and their free association style, in flourishing form, flipping rhymes, metaphors and meanings melded in the wordplay soup that spills with a splash to wet your apatite. When the Wu-Tang go off on one they have you in the palm of their hand, throwing flows like blows one can barely stay on their feet as fists fly by ears, your left trying to keep up. Props have to be given to Inspectah Deck who drops the albums... maybe the groups bests verses on "For Havens Sake" and "Triumph". Get your books and scalpel, dissection is required! "I bomb atomically, Socrates philosophies and hypotheses can't define how I be dropping these mockeries." The Wu-Tang need no accolades, their talent speaks volumes and the two discs are loaded with dense rhymes and flows to chew upon.

The instrumentals are perhaps out shun by the rhymes as their role is best served in forging the atmosphere and tone for the lyrics. It never feels like they overtake focus from whoever is on the mic. Studying the sample arrangement and drum beats exposes a lot of repetition that's again serving whoever is rhyming. The chemistry is right and it feels ironic that the best beats, "Severe Punishment", "Triumph" again, are where the best rhymes end up. RZA's gritty, raw style makes for many sinister, street atmospheres mixed in among socially conscious emotional tracks with a helping of sorrowful pianos, soulful samples and of course the sounds of martial arts, kung-fu flicks reinforcing the theme.

With a wealth of good material the album looses itself mostly on the second disc as the mediocrity becomes majority. If this where a single record it would be all killer no filler, possibly a classic but as the album draws on too many half baked ideas and lack of moderation let reasonable songs drown out the classic material. There are also themes of Wu-Tang education surfacing in the second half which don't tie up conceptually and tend to dissolve into rants. The ODB also drops some disgusting lyrics on "Dog Shit", usually a wild eccentric accent to the rhyming shenanigans of his group this solo performance feels like exactly that comparing its tone to the rest of the record. In 97 Wu-Tang struck back hard with a lot of ambition and I feel like they met that ambition, just not in the volume of a double record.

Favorite Tracks: For Havens Sake, Severe Punishment, A Better Tomorrow, Triumph, The City, Hellz Wind Staff

Rating: 8/10

Jay-Z "4:44" (2017)

As it says on the album cover, this is billionaire rapper Jay-Z's thirteenth studio album. Originally released as a Tidal exclusive, the album went platinum swiftly no thanks to business deal resulting in a bulk purchase to push it over the edge. This put me off giving the record a try, that and the play duration which is just thirty six minutes, significantly shorter for a rapper from the compact disc generation, usually filling the CD to the brim with cuts. Impressions are just that, from the opening track "Kill Jay-Z" you realize your in for an introspective journey. With the arrival of his twins, Jay is has a lot of reflecting to do on the lifestyle of his past and many of the decisions he now finds questionable. Its packaged as a collection of raw thoughts, rapped to his former self as he closes the door on that chapter, an interesting window into the life and mind of the self made man.

For me, Jay-Z has always been a tough nut to crack. His debut is a classic and The Blueprint too but beyond two projects he has never really dazzled me with his raps or production style. On this record the lyrical content has a real pull as he lays out his internal feelings openly at an interesting point in his career, cruising beyond his peak of his success yet still striving for more as a businessman. He shares his motivations about leaving his wealth to his family and future generation, while talking about the sins of his father who shamed their family name. In another track he touches on his past and unfaithful behavior, questing what his daughters will think if and when they find out. The openness is quite the endearing quality for this record and it spans several tracks. One of which, "Moonlight" has Jay-Z poking fun at modern rappers with the "skrt skrt" and "trill" slang, saying they all sound alike.

Behind it soft, soulful, jazzy, mood setting, yet rather tame instrumentals appease the stage for the raps to take the main focus. Sample driven, with many pitch shifting loop manipulations, the style is far from edgy and natural progression for a 90s rapper. It attempts new tricks with the old techniques and for the most part is solid, laying down coherent tunes that line up with toned down, tame drum beats, making it an accessible experience for the average listener. 4:44 is a fine record with little to falter yet doesn't do much to dazzle beyond its subject matter solidifying an interesting point in his life, its a reasonable effort, its charm is in its honesty.

Rating: 6/10

KRS-One "The World Is Mind" (2017)

Hip Hop legend Kris Parker, also known as KRS-One, is a phenomenal voice in Rap music. He was there in the golden years with the group Criminal Minded who dropped their influential debut back in 1987. His musical partner Scott La Rock was killed during the recording of their second album which eventually set Kris onto a solo path, releasing his brilliant "Return Of The Boom Bap" solo debut in 93. Since then he has been rather consistent releasing records every few years up to this day. Kris is a very bright and intelligent voice within the Hip Hop community with an eye for observation and mouth for impacting social commentary. His talent for clever, witty lyrics with a sharp, potent point holds up to this day, flow and delivery so fine tuned its probably effortless now.

"The World Is Mind" plays like a rolling collection of strong 90s themed instruments with thoughts, topics and ideas brought to them through the lyrics. Pretty standard stuff, no overarching theme, unpredictability or challenging sounds. In its strengths it falls down, covering no new ground and rarely providing a spark of excitement, doing the old formula to a science. Kris recycles lots of themes, stories and commentaries Ive heard him recite before. He criticizes the modern scene, talking down young rappers and boasting about how it was done "back in the day". Its all delivered with the finesse and brilliance you'd expect but its a tired experience when tuning in with oldskool rappers who haven't evolved their direction.

Littered through the album you can find knowledge and wisdom in various lines, verses and themes of the track. Kris's rap style is as potent as ever but given my tiring ears for a recycled sound it becomes a bit dull against the rigid boom bap beats that barely evolve beyond their entry loop. A few modern ideas emerged on a scarcity of tracks like "No Problems", using lush synth sounds and snappier beats. This would of been stellar fifteen years ago but in 2017 their is more exciting music happening elsewhere in the scene, I can't fault the record for anything other that not been inline with my taste right now. The record does however wrap up with a fantastic title track, a poetic fable deciphering the album name meaning, that the world is constructing in your mind.

Favorite Track: The World Is Mind

Rating: 4/10

Puff Daddy "No Way Out" (1997)

I have a vivid memory of a brief moment in my childhood back when my record collection was just starting. I recall the busy wintry high street, the sizeable store, the layout of the sanitized shelves and myself picking this record up and staring at it for ages. I vaguely recognized the name Puff Daddy but had no idea who his family were, or that the Notorious B.I.G was one of them. This was back when every record on display was a mystery, something of interest. I had permission from my parents to buy one album and after contemplating for sometime I believe I settled on something I knew, Micheal Jackson if I recall correctly. It occurred to me a while back that their is nothing stopping me from ordering myself a copy. Its a strange sort of nostalgia, hearing something for the first time yet knowing this would of been "that" album to bring me into the wonderful world of Hip Hop.

No Way Out is Puff's debut as a solo artist, one that unsurprisingly incorporates many of the artists from his Bad Boy records who huddle together to make one heck of a statement. Its a marvel of the 90s sound but finds itself having a unique angle, the death of Biggie Smalls who was assassinated during the recording stage, he appears on three of the tracks delivering his usual brilliance, it has a strange contrast when Puff's lyrical direction is reflecting on death and people around him dying. Its saddening and captures a very dark moment in Hip Hop history direct from one of Biggies closest friends.

The music is on point, a classy production that brings out the best in the scenes transition into less sample orientation with programmed drums and instruments. There is however a lot of interpolation and snippets loaded between the beats. As the lyrics lead, the instrumentals reflects on a healthy variety of vibes. Summery, uplifting tales of wealth and success with bold jiving grooves can then swing to the shadows as they dive into the gangster oriented braggadocio with shades of Mafioso Rap and the horrifying sounds of gun splatter. Two sides of a coin that find a path as the record flows smoothly between its luscious Disco, R&B influenced tracks and its gritty, tragic side.

Production is Puff's strength but as a rapper he does nothing wrong. Such an easy flow and tone of voice amends his lack of lyrical gymnastics or tenacious wordplay that other rappers use to dazzle. Smooth and steady his very direct use of language goes down a treat, engaging us in his thoughts, narratives and stories at a steady pace. This of course resonates with the moment this record resides within, immortalized by the tragedy that looms over tracks like "Pain" and "Is This The End", where Puff picks up the pace and holds his own with some tighter flows in brief moments.

The features across this record are great, everyone brings their best and The LOX turn up again, I keep hearing them dropping slick verses, featured on many records. Their debut, released a year later, hasn't particularly aged well with me, perhaps they save their best for other peoples records. Black Rob really impressed me with his rhymes on "I Love You Baby" and Faith Evans on "I'll Be Missing You" gives so much soul on a fitting tribute to the death of Biggie. Ive always adored that song, I fondly remember watching it on MTV as a kid, perhaps that's were I knew the name Puff Daddy from, all those years ago.

No album is perfect and as stunning as this one is it has a couple of duller tracks as it draws on. An icky skit at the end of "Friend" we could of done without and the final track, a remix of "The Message" just doesn't hold up, its a bonus track but the rhymes and tone of Puffy and Mase just don't gel with the beat. Other than that its a pretty stellar record that Ill be enjoying for years to come. Should of brought it! But hey maybe I wouldn't of appreciated it in the same way back then.

Favorite Songs: Victory, Been Around The World, What Are You Going To Do, Don't Stop What Your Doing, If I Should Die Tonight, Do You Know, I Love You Baby, It's All About The Benjamins, Pain, I'll Be Missing You

Rating: 9/10

Snoop Dogg "Neva Left" (2017)

Given the mild mediocrity of last years Coolaid and the landmark Doggystyle decades behind him, I had little reason to tune in this time around, however the albums cover intrigued me, a young "Snoop Eastwood" as he might say. The picture was taken in 1992 and the album name Neva Left hinted of something nostalgic at work. Opening with his mission statement, Snoop drops a slick a smooth flow affirming his originality and gangster authenticity over Wu-Tang Clan's classic C.R.E.A.M. Initially I wasn't so sure about the the pairing but like much of the album it grew on me with each spin.

The record has a tight collection of bold beats, mostly with a big and raunchy G-Funk sounds with big punchy synthetic baselines. The songs are lined with tips of the hat to the oldskool, samples like A Tribe Called Quest's "Back in the day" and the occasional use of retro 80s drum machines paint the theme. "Go On" brings the sunny vibes with a classic summer party tune to mellow out to, his guest October London illuminates the song with a swooning chorus that's just infectious. Its not all retrospective though, the records production, handled by many, brings the best of old and new together.

Neva Left is a fantastic statement by Snoop who lays down some of his best rhymes in years, reminding us of his style, persona, attitude and even dedicates a song to his American football league named after himself. It leaves its mark but the record suffers from the same variety that's its strength when songs like "Trash Bags" and "Toss It" cutting in with obnoxious lyrics and trendy beats, the mood suffers. In a stronger light, "I'm Still Here" conjures Snoop Lion and his Reggae love but it sticks out like a sore thumb. Consistency in direction would of served the experience very well.

There are many impressive tracks though, B-Real, Redman and Method Man unite as the four horsemen of weed on the stoner track "Mount Kushmore". KRS-One turns up on "Let Us Begin" with some tight rhymes and brap sounds to blast your ear drums. Snoop brings a lot of guests on, all do there part but the records peak is with "Vapors", a reconstruction of the classic Biz Markie song, the beat is sharp, dense and layered and Snoop's slick flow is perfect for the classic. Its a pleasantly surprising show from the west coast legend who on a handful of songs does his best in decades.

Favorite Tracks: Neva Left, Go On, 420, Lavander, Mount Kushmore, Vapors, Love Around The World

Rating: 6/10

The Underachievers "Renaissance" (2017)

One of my favorite modern Hip Hop acts is the dynamic duo of AK and Issa Gold, the Brooklyn based act known as The Underachievers. I was drawn to them on their debut LP, Cellar Door, a spaced out collection of Trap influenced beats where the two exchanged fast spitting rhymes. Their followup Evermore was a tale of two halves that produced a handful of riveting, inspiring lyrics in the opening tracks. To my ears the pair have evolved in reverse lineage to current trends, their lyricism growing more depth in expression and the beats frequenting nineties vibes.

Renaissance continues on that path with a smokey, concurrent theme bordering on Jazz Hop as Soul and Jazz samples soaked in measures of reverb set a mellow, hazy, indulgent atmosphere for the beats to ride. The use of modern production styles holds an obvious mold between old and new, mostly a strength for the instrumentals. Every few tracks a darker, leaner numbers switches up the mood, the soulful sampling is dropped in favor of slicker synthesized instrumentals and the twos rhymes often shifting gears for gangster rap alike rhymes. It starts with "Crescendo" which has a line that made me chuckle, "I'm addicted to the green, yea that's a strictly veggie diet!".

This breaking of the flow doesn't indicate much overbearing meaning. The album opens with a quote, a powerful one from MLK about leadership and enslavement, the following tracks provide food for thought on the socially conscious, introspective narrative. The theme quickly dissipates as the tone and lyrical directions shift. The albums production is quite shaky and inconsistent too, varying volumes and mastering extends beyond beats to the volume of the duo's voices too. "Kiss The Sky" is massively compressed in comparison to what comes before it, their voices jump out over the speakers.

There's a lack of direction, or concept to tie things together here but the good moments do manage to jump out. The opening few songs are the track lists best but as the record draws on a few other moments stand out. "Gottham Nights" has a stand out moody pitch shift on the atmospheric sample. "Different Worlds" ties the Jazz Hop to the darker vibes and has beautifully gloomy sung vocal sample reminiscent of Chelsea Wolfe. Following it "Break The System" pairs a bombastic snare kick groove with a trippy spaced out synth sample drenched in echo effects.

The pair seem without guidance here. Good beats and rhymes prop the record up but as an overall experience its a mixed bag of tricks that loosely fit together. The opening theme fades swiftly and I also noticed they grouped the three stoner songs together in the midsection but they only server each other. Its not a disappointing record, there is plenty to enjoy but the bar has been set high and we know they are capable of putting something a lot better together than this.

Favorite Tracks: Eyes Wide Open, Crescendo, Different Worlds, Break The System

Rating: 6/10

DMX "The Great Depression" (2001)

The Great Depression is DMX's fourth full length and the one I was most looking forward too. Why? A touch of nostalgia, I remember seeing it in the local record store all those years ago, the cover stuck in my mind. Unfortunately Its been a tad disappointing. X has an exuberant energy as he spits, a rock steady flow but the lyrics have been steadily on the decline and their is no signs of change here. An over reliance on cursing and vulgarity had my interest slipping. The occasional track like "Shorty Was Da Bomb" starts to border distasteful, flaunting takes stage over topics that require a serious measure of empathy and understanding, yet X plays up his self centered life style. This becomes increasingly frustrating on his glorified conversations with God, which seems to be an enabling mechanism to justify his actions. Of course some lyrics are fictitious but X has a reputation and jail time to prove it cant all be for show.

The albums production is handled by a few names, mostly sticking to Swizz Beatz's blueprint sound. He throws together a few songs too however they are the weaker in the track listing. Dame Grease produces the albums best songs "We Right Here" and "Who We Be", the second of which X raps over with two word lines, "The [insert rhyme here]", reminiscent of Juvenile's "Ha". "Bloodline Anthem" is a breath of fresh air, a track played by a live band, possibly. It has a tanned distortion guitar ripping a steady power chord drive as a synth hook plays a catchy melody over the top between Dia singing the chorus. "Damien III" marks the return of the evil voice in X's mind, revealed to be the devil himself this time, the dynamic is still strong and dark. Its followed by "When I'm Nothing", a summer breeze, sun soaked feel good track that sounds so out of place in this record, X is to thuggish for the vibes. Personally I adore the beat, reminds me of "Mo Money Mo Problems" by Notorious B.I.G, the difference is he made his style suit the Disco influenced number.

After a reasonable start the record fizzles out with a weaker selection of beats. X's lyricism doesn't do a lot for me on this record. The same themes are turned over again and it feels like he is stagnating at this point. He doesn't quite have the same wild card feeling with the spontaneous barking growling and these things just added up. The beats held this one over but I'm not hopeful anything better is going to come of the rapper who clearly has an incredible flow but the content is really lacking.

Favorite Tracks: Who We Be, Bloodline Anthem, When I'm Nothing

Rating: 4/10

Busta Rhymes "The Coming" (1996)

Brooklyn rapper Busta Rhymes is one one Hip Hop's most recognizable names but personally Ive associated him with the popular, mainstream side of the music due to his presences on MTV back in the day. With my journey through the 90s era Ive heard him appearing on many records, The Low End Theory, Project Funk Da World, Warriorz etc... changing my mind on where he stands. Looking over is list of features its clear he runs in some of the circles I'm yet to get around to but the point is hes a classic 90s era rapper and his debut record as a solo artist seemed like a great place to start.

Departing from Leaders Of The New School, Busta shows his strengths as a lone force, being the records biggest flavor, his hard hitting, energetic, charismatic flow has the rhymes spitting in an ever changing variety of styles. His words drop with texture and hype as he constantly shifts the persona and delivery. Its slightly manic, schizophrenic, his snap "ha" and crooked laughs in the backup track reinforce the mania that his flow creates. He has pace and emphasizes the mid point of longer words, bringing them into the rhyme flow, doubling up the on sentence endings. He also jumps on and off the tempo of the beat, regularly ramping up extra rhymes into the end of bars and shifting his pitch for various words and laughs. His distinct and clearly gifted style gives a lot of oomph to the record. Not many of rhymes stuck in my mind but with exception to one or two tracks Busta's flow was engaging and fun to follow for the runtime.

The albums production was handled by Busta himself and a couple other producers like DJ Scratch and Easy Mo Bee contributed tracks. The result is a rather mediocre collection of beats that don't have much of an over bearing theme or style to hold it together. Generally the beats steer to a more bombastic and darker leaning. Dub and Reggae influences emerge on some tracks but nothing defining. The album has one R&B, radio friendly song "It's A Party", which just so happened to be a single. Its a reasonable record, Busta's ability to rhyme really carries it but without him it would of been quite the lull despite quite a few big names in the features.

Favorite Tracks: Do My Thing, Everything Remains Raw, Woo Hah!

Rating: 5/10

DMX "...And Then There Was X" (1999)

Making our way through the troubled rappers discography we arrive at his third and most commercially successful record. It shipped over ten million copies world wide no thanks to the massive hit "Party Up" and it being released in the prime of the industry's sales. Its not his best work but certainly has a more consistent tone about it. The instrumentals feeling very fitting one song to the next and X seems as ruthless and unforgiving as hes been so far. Its not to much effect however, beyond the savage nature of the stories told, his vocabulary doesn't expand much beyond a constant reliance on curse words which gets a bit tiresome where lyrical creativity is needed.

The albums theme has X diving deeper into stories of street life, painting an unapologetic image of him delving into crime, drugs and questionable behavior as he raps very directly about his experiences. They are often aimed at an individual, X threatening his actions through the music with violent imagery and insulting slurs. I'm probably focusing on the negative aspects as Ive heard him so frequently recently, his flow is still fantastic, wild, up beat and hyped with plenty of barking but it still feels like the lyrical content isn't anywhere near as exciting. On "What's My Name" he gets the hook just right to make one my favorite DMX songs thanks to a fantastic instrumental, however the records best raps come from The Lox on "D-X-L".

The production is tight, consistent and a little denser than before. Another set of programmed instrumentals and drum kits take a step forward with a shade more complexity and depth in the various arrangements. The drum loops are loaded with more cymbals and hi-hats, alongside them strings, pianos and various synths set the setting for X's dark criminal raps. Its got the atmosphere down but far from being special. Just a solid collection of beats from start to end with a hint of mafioso.

My one big turn off is "Prayer III", X's spoken word piece, a conversation with god that's featured on each record. This time it feels a little contrived and illogical for him to acknowledge his influence on his potentially impressionism audience, accepting his success and fame as a gift in the wake of his troubled behavior and antics. I'm not keen on this way of thinking, its enabling but I'm not here to cast judgement, just making observations from my perspective. Good record but only has a couple of sparks.

Favorite Tracks: The Professional, Part Up, What's My Name, D-X-L

Rating: 5/10

Raekwon "The Wild" (2017)

Raekwon The Chef, member of the legendary Wu-Tang Clan is quite possibly my favorite of the Staten Island group. His sturdy rap style, lyrical flexibility, ability to tell stories and mafioso flavor has always won me over. Truth is Ive barely gotten myself beyond his debut classic "Only Built For Cuban Lynx" but wherever Raekwon pops up on a track, if its Outkast, Mobb Deep or Schoolboy Q, you can count on him for a solid rap. Twenty five years into his career its fantastic to hear how well hes held together his craft. That and the production makes a decent record out of "The Wild" however it doesn't quite spark for the goosebumps and adrenaline I fiend for.

The song "Marvin" however is the exception, in itself an exceptional track that hits that mark, a remarkable and fitting tribute to Marvin Gaye, sampling his record, Ceelo Green singing his sorrows in the chorus and Raekwon telling the story of his life and tragic death and the hands of his father. His flow like a glue keeps me gripped on every word as he paints the heart breaking story for us. Its a wonderful tribute, a track Ill tune back into for time to come.

With that one exceptional moment out the way, the rest of the record is a rather diverse collection of instrumentals. Nostalgic samples of the 70's, the music of his youth, recycled Wu-Tang beats from 36 Chambers, dark club synth bangers like "My Corner" where he teams up with Lil Wayne and "You Hear Me". "Visiting Hour" is a dreamy bitter-sweet pop like song with bright pianos and airy synths and this varied selection of tracks is tied together with what sounds like people hanging out in the studio while a soulful voice sings some humorous lyrics as others laugh along with him. Raekwon is solid throughout with his stories, mafioso boisterous raps and fond reminiscing. Its all great but lacks a kick for the songs to transform into anything special, with exception to "Marvin".

Favorite Tracks: Marvin, Can't See You, Visiting Hour

Rating: 6/10

Joey Badass "All-Amerikkkan Bada$$" (2017)

One of Hip Hop's young up and coming rappers is politically charged, Brooklyn based, Joey Bada$$ who made his name with a 90s inspired debut "B4.Da.$$" at the age of 19 back in 2015. Now a little older he putts a firm foot forward aiming to make a bold, relevant fiery statement while modernizing his sound, distancing himself from a strictly retroactive approach. A solid production and a daring album title, with the tipple k, sets the stage for a comparable likeness to America's most wanted, Ice Cube. The question is does it live up to ambitious persona?

In short, it does, much like a young O'Shea Jackson, Joey gets real and radical in a wild way, inciting acts of genocide by the American government against his color, race and his people. As a listener with an older head, it is easy to sympathize and understand his perspective however the complex reality of influences from social, economic and political systems feel glossed over in the raps as Joey pursues a much more simplistic and radical world view, with a lot of thoughtful commentary too. He also provides little answers or solutions and so the record takes on a rather nihilistic and self defeatist vibe which I think speaks volumes as a reflection held on the attitudes and feelings of the most unheard and underrepresented in society.

Diving into the lyrics is a journey of its own but Joey's flow is dynamic and varied enough to carry the record through its motions, switching gears from easy going spoken raps to hyped, pacey delivery with some dialectic inflections too. Taking a step back from the words, the record starts with a rather summery, fun group of tracks, promoting positive vibes with very welcoming hooks and choruses despite the heavy topics. It culminates with the uplifting "Devastated" a banging Trap influenced poppy track with catchy lyrics and a lick of auto-tune which sounds great being used subtly.

The second half takes on a leaner, slick, dark and diverse sound as Joey brings in guests on each the tracks with hard hitting instrumentals and the weight of heightened aggression. Joey takes the last track on his own, delivering an alarmingly paranoid and despairing message to end the record on a very vivid note. For all its components the record doesn't quiet solidify in my mind, the topics often misaligned with the instrumental vibes despite both being quality. Its a record that has a very loud and bold statement when the instrumentals are moody and charming. Thinking back to "Amerikkka's Most Wanted", the anger, ferocity and energy of Cube's raps where right in-sync with the bomb squads explosive beats.

Rating: 7/10

DMX "It's Dark And Hell Is Hot" (1998)

After starting with DMX's sophomore record "Flesh Of My Flesh, Blood Of My Blood" we rewind to his debut released earlier the same year. Its widely regarded as his best, a commonality for Hip Hop debuts. Hearing X's wild and ferocious flow for the first time would certainly give listeners a strong attachment to this record but Its the records production and beats that give it more juice, not to mention the banging "Ruff Ryders' Anthem" kicking off the album and X's debut track "Get At Me Dog" beefing up the track listing with two of his best. They both showcase two sides to this record caught between the early and late 90s sounds, some sampling oriented beats and a lot of programmed instrumentals.

The album really comes into its own with "X Is Coming", a dark and harrowing song where X says some very sketchy things in the name of blowing up his persona and extremities of his rap style. It introduces slick drum arrangements with mafioso string sections, creating an air of powerful, menacing criminality. The following "Damien" introduces a character who features on the following record. Its a narration between X and his thoughts, or better yet the evil voice in his mind that leads him to bad places and situations. He gives Damien his own voice, a hazel, high pitched inflection that has the tone for malicious intent and we follow the two talking back and forth in conversation.

Between his vibrant WHAT!s, alarming barks and menacing growls, X's flow is energetic and easy to follow. The words roll effortless and come at a hyped pace. He's more impressive with the energy he gives and the knack for fiery hooks than his lyrical word play. A notable trait is to change the tone of his voice when shifting back and forth in the narrative. His story telling is fluid, blunt and raw, sound effects of screams and sirens painting a hellish criminal vision on the cinematic "ATF".

Hes no wordsmith but its the unleashed, unfiltered character that really sells it and with the nefarious instrumentals the elements feel in the right place on this record although its production is a little mixed in the beginning. There's a cover of Phill Collins' "In The Air Tonight" which is a very memorable re-imagining of Phill's timeless hit. As great as this record is, I do feel like X could deliver a little more, hes got such a great style but his lyrics fall flat when unfocused and drifting into foul mouthed, violent braggadocio. Either way I loved this record, I'm sure it will grow on me more with time.

Rating: 7/10

Favorite Songs: Ruff Ryders' Anthem, Get At Me Dog, X Is Coming, "Damien", Stop Being Greedy, ATF, For My Dogs, I Can Feel It

DMX "Flesh Of My Flesh, Blood Of My Blood" (1998)

I don't know why DMX never sparked my interest before. From 98 to 03 the New York rapper killed it with a string of five records debuting at number one, making him the fifth highest selling Hip Hop artist of all time, of course commercial success doesn't equate to taste. Once again it was youtube suggesting a performance of his at Woodstock 99 that drew me in. Its one of my favorite festivals and I had no idea he performed there. I was blown away by his stage persona, owning every word, flowing and spitting with that wild hype he has on the track. It might be one of the best rap performance out there, rocking a crowd of four hundred thousand without a backup crew, just him and his DJ. I wanted to start at the beginning but a while into this record I realized it was the second of the two he dropped in 98.

"Flesh Of My Flesh, Blood Of My Blood" is a typical industry record of the era, a loaded compact disc with tracks and skits filling the seventy minutes without an over arching concept. Swizz Beats, who made his name with DMX, handles a lot of the production with tight programed percussion and MIDI instruments arrangements. They leave a lot of space for X to flow, just a couple of additional strings and keys looping short melodies over tight thumping bass lines and grooving drum patterns. Its not to crowded, yet packs a punch in the better tracks.

DMX strikes me as a logic step forward from the likes of Tupac in terms of mainstream appeal. He has that crisp, fluid, coherent delivery making for easy following. His tone a little deeper, lyrics nastier and of course brimming with anger and energy that spills out in his legendary wild barks and "what?" background shouts. He even growls like a dog too, its a remarkable, confident burst of energy that sparks up the tracks. With a distinct style X doesn't drop the smartest set of rhymes but with a reasonable vocabulary he has the craft to story tell and walk you through his thoughts, an internal dialog or scenario like a pro. His style elevates on tracks like "Slipin'" where gang life and violence take a backseat to emotions and introspection.

There's a fair bit of mediocrity in the track listing, a few features mix things up, The LOX sound great on these tracks and Marilyn Manson gives a chorus to the dark and gloomy "The Omen". On occasions things gel better and produce banging tracks like the opening "Bring Your Whole Crew", thanks to a wicked hook from "P. Killer". X's personality is loud, pronounced and in your face, he spits like fire and in fairness its a big draw for this record which he carry's a long way. I don't expect this one to hold up as I get used to his discography however it has been a really fun introduction to one of Hip Hops biggest names.

Favorite Tracks: Bring Your Whole Crew, Keep Your Shit The Hardest, Slippin', Flesh Of My Flesh Blood Of My Blood

Rating: 6/10

Common "Black America Again" (2016)

Socially conscious rapper Common is back with another charged record thats very much relevant given the social climate and resurgence of black struggles in American society. With the title alone the topic is made clear and through the fifty six minutes he barely takes a step of the path. It's certainly the time for music to reflect the atmosphere but that doesn't necessarily define a good record. "Black America Again" fails on many fronts, mostly its religious inspirations and Common's unchanging approach. As a 90s fan of 90s flows, Common is one who's barely changed a lick, an old rapper with an old flow and unchanged rhyme style. He was never a particular favorite, he has gems in his discography but what mainly appealed to me was the positive, intelligent commentary of his persona in the raps.

There is a ton of subject matter I agree with on the record but the music is spoiled where biblical themes and words of praise come into play. With all the problems addressed he frequently turns to prayer and god as a solution to them. I appreciate the warm intention but for a person who see societal issues as systemic, the call for praise of Jesus over engagement or practical solutions infuriates me. Another difference of opinion grinds me on "The Day Women Took Over", a song calling for an oversimplified ideal that Women's disposition to empathy and caring would make them better leaders. Considering there are many women in positions of power around the world it would again suggest that our societal issues are systemic, related to power, wealth and its corruptible qualities. What Common has is simply utopian, poetic statement that lack any depth or substance beyond a nice but ludicrous idea.

Behind my indifference to Commons lyrics a rather sweet and soothing record exists in the instrumentals. Toning down the bombastic nature of the beats, soulful influences and roots of black music are given room to shine with occasional string sections bringing subtle crescendos too. John Legend's singing on "Rain" tunes out the drums for a stunning piano and singer song that only resembles a Hip Hop track thanks to Commons verses rapped without a beat. His raps are steady and mostly solid but its a style unchanging. On "Pyramids" a bit of technicality comes to fruition but otherwise hes mostly stagnating on a un-progressing approach that disappoints without the lyrics to match. There are good moments in the record and I have tried to love this record but large sections of the raps just didn't work for me.

Favorite Track: Black America Again, Pyramids, Rain
Rating: 5/10

A Tribe Called Quest "We Got It from Here... Thank You 4 Your Service" (2016)

Its been eighteen years... and I doubt anyone saw this coming. The legendary ATQC, innovators of Jazz Hop and creators of one of Hip Hop's greatest records "The Low End Theory", played their last ever shows a few years back and with the sad passing of Phife Dawg earlier this year the groups fate seemed final. Turns out they resolved their differences after the runion tour and decided to record a new record in secret. So imagine the astonishment I felt when I got an email announcing its release, more so at how good of a record it is and what a blessing to hear Phife on the record. How much of this was created with out his input I'm not sure but he came up with the title and the rest of the group aren't quite sure of its meaning.

I can't help but think its a tip of the cap to show the old traditions still have value in today's music. ATCQ sound like a group in the moment, flowing in the waters of inspiration and reinvigorating their identity because "We Got It" feels as if their is no absence. No greasing of the gears, no rough edges, they are in sync and doing what they do best. This is no nostalgia trip though, fresh production ideas and choices dominate this record without deterring from that warm hearted Jazz Hop soul the group always had. They also bring a star studded set of features, from Kendrick Lamar to Kanye West. Andree 3000 of Outkast and even their old friend Busta Rhymes. Speaking of old friends, Jarobi White is on the record, who only took part in the groups their first record.

Split into two sides of eight tracks the record flows effortlessly as a sixty minute piece, due much to its drifting from traditional song structures into artsy organic flows of creative sampling between the verses and chorus's. Some of this manifests with bold intrusive sampling, electronic Kraftwerk alike noises beep away in the start and end of tracks as well as snippets from Willy Wonker and the classic Thriller evil laugh in the records opening track. Q-Tip's production has no boundaries, its as if hes unbottling held back creativity and so many of his choices work. On "Lost Somebody" he lets the drum machine rapid fire like its glitching out. Bold, off key and different. The song even cuts to silence before some guitar jamming noises through into the next track. These experiments are fantastic but between them a set of solid and expressive loops, from the boom bap beat of "We The People" to the Reggae Dub grooves of "Black Spasmodic" Q-Tip finds all shades of Soul, Jazz and R&B to keep the flavors flowing from start to end.

Much of that bottled up creativity speaks to Phife and Jarobi who toy with afrocentric accents between sets of inspired raps. Q-Tip is also on point as the group talk to many relevant issues in the wake of Trump's election, "Muslims and Gays, boy we hate your ways". Id have to hand verse of the record to Kendrick Lamar who drops a impassioned rap on "Conrad Tokyo", his words come so fast with so much weight I feel like each listen adds a new dimension to the wieght of his words. The rest of the track meanders in the echo of his words while a keyboard solo jams away. Its a fantastic choice to let the instrumental take steer of the ship for the rest of the song.

The record rounds up with "Donald" a Phife Dawg track, layered with sampling and snippets of news presenters saying the president elects first name. I can't help but think the songs design is a tip to Phife's classic line "I cash more checks than Donald Trump". It an remarkable record and more so for its exceptional circumstances. One things for sure the substance is there and we have been gifted a wonderful album that must be respected, fans like myself would love more of this I'm sure but the reality is this is a send off, a twilight special and how blessed are we to hear it. One things for certain, the tribe can kick it! Yes they can.

Favorite Songs: We The People, Solid Wall Of Sound, Conrad Tokyo, Ego
Rating: 8/10

Mobb Deep "Hell On Earth" (1996)

As the album opens its purpose is stated with the opening words. "You know how we did on The Infamous album right?", "Well were going to do it again son!". Fitting lines to summarize both the albums strengths and weaknesses, Mobb Deep intentionally attempt to recreate the success of their legendary 95 "The Infamous" record. Just a year later the duo were fast to jump back into the studio, rounding up some familiar voices, Big Noyd returns for a couple of tracks, Raekwon and Method Man of the Wu-Tang Clan and Nas once again. Despite "The Infamous" being one of my favorite records, Id never given many of their other records, bar "Juvenile Hell" much of a try and with my conclusion in mind I believe this would be a record Id of really loved had I gotten into it years ago. These days my appetite for more of the same flavor is rather diminished.

"Hell On Earth" takes "The Infamous" blueprint and attempts to twist it to darker territory. Firstly the beats have the same sharp, crisp snappy tones and programming arrangements, with deeper spare baselines backing the kicks. The sampling looks for more upfront, direct sounds, sinister ensemble strings sections with Gambino crime family vibes rub up against the rugged, urban drum loops. It finds itself more involved, removing some of the atmosphere and reverb the drums use to fill between more sparse sample choices. As a result thicker walls of sound bare down on the listener with grimy mafioso vibes. The soundtrack to scarface inspired crime, it creates quite the air of burden, gloom and doom on some tracks like "G.O.D. Part III" where the mood is rather grim.

On the vocal front much not has changed in the duos tone, delivery and flow but lyrically there is less story telling and more gun play, braggadocio and threatening word play as the two make remarkable statements related to crime life and violence. Some tracks run narratives and others not so much but as a lack of familiarity would suggest I didn't enjoy the lyrical side as much as the beats which on a few tracks really hit the mark. "Hell On Earth" is very much a repeat of success that leans into the Mafioso Rap genre that was emerging at the time. Its a solid, enjoyable record but as I said I have a diminished appetite for "more of the same" in this instance.

Favorite Tracks: Extortion, Man Down, Can't Get Enough, Nighttime Vultures, G.O.D. Part III, Give It Up

Rating: 7/10

Mobb Deep "The Infamous" (1995)

"To all the killers and a hundred dollar billars"! A Classic line from a classic song on a classic record. In 95 the Queensbridge duo Mobb Deep, consisting of Havok and Prodigy, hammered the nail in the coffin on their sophomore record which time has taught us is a fine moment in the history of Hip Hop. Following up on their patchy debut two years earlier the duo took full control over production with a helping hand from Q-Tip of A Tribe Called Quest. Coming with an inspired set of rhymes their dark and shadowy beats illuminated the pairs lyrics to a level of unrivaled harmony.

Both Havok and Prodigy have clean, concise flows. Likeable, easy to follow and plenty of mind for clever rhymes within conventional flows. Their tones differ and compliment one another as they pass the mic back and forth throughout the tracks. They are both brilliant story tellers, coming with very direct trains of thought as they walk us through the rough and rugged environment they call home. "Temperature's Rising" caught my attention for not only being a story of criminal events but a direct message to a friend locked up, with instructions on what to do. Very real and very direct the two make a point of letting you know they talk the walk they walk unlike the majority of rappers who reflect their environment and the people they know.

When not direct the duo can paint graphic pictures of ghetto life with their vivid word play and violent lyricism which dives into all sorts of drug abuse, crime, conflict and the imminent threat of death. Its an unapologetic picture painted sublimely with words that flow effortlessly. A chemistry oozing with pace and coherence to follow the main tales told through the sixteen songs which span sixty sixty minutes without a second of filler. Quiet the achievement!

Pairing with the lyrical direction, the beats are hauntingly dark, conjuring scenes of streetlamp lit nights in dangerous areas as banging drums lead chilling, eerie samples of guitars and pianos over the deep lurking baselines. Urban, harrowing and unforgiving they set a paranoid stage for their luminous flows to strike. The snare kick grooves are superb, using programed kits a selection of sharp, crisp punching drums that snap, making for banging grooves as they attack fast with minimal decay, even soaked in short reverb they create such a density without the instruments lingering. The result is infectious and repetitious without weakness, as the same sampled drums snap over and over the wild energy of the rappers keeps it feeling fresh through the entirety of the song. For most of the beats they don't go beyond the basic loop, with the occasional dropping of a drum line or sample as the lyrics reach an ample moment. The records best track "Right Back At You", with a momentary exception, is the same six second beat looped for the entire track and with the sublime verses of the duo and their guests its exceptionally banging.

Speaking of guests there's, Nas, Q-Tip featuring as well as Ghostface Killah & Raekwon of the Wu-Tang Clan. This is a 90s wet dream as New York's finest team up to kill it. All the elements lined up for this record and I couldn't list how many cracking lines have never left my mind, one sticks out though "Your crews featherweight, my gunshots will make you levitate"... Goosebumps! I seem to be drawn to picking out old favorites and revisiting this one really filled me with joy, such an incredible record and brilliant insight into a frightening and entirely different world.

Favorite Songs: Eye For A Eye, Temperatures Rising, Up North Trip, Right Back At You, Drink Away The Pain, Shook Ones Part II, Part Over

Rating: 10/10

The Underachievers "It Happened In Flatbush" (2016)

I was very excited to see this record pop up in my inbox. The Underachievers are one of my favorite modern Hip Hop acts and their last full length "Evermore - The Art Of Duality" really made its mark on me. The first half of the two sided release is loaded with deep and meaningful messages about achieving in life and keeping on top of your goals. Its a record I frequently turn to when running and working out. Unfortunately "It Happened In Flatbush" isn't on that introspective wavelength and is stated as a "mixtape". Essentially a less focused and shorter release to tie fans over.

Initially this sounded fantastic. Tight spacey, dark beats and deep cutting baselines but a few tracks in the lyrics were tiring me. Gone is the insightful, thought provoking, life changing lyricism. In come the blow trading, braggadocios flaunt raps loaded with violence and threats. With much talk of gun play, settling rivalries and street warfare the mood is ripe for these dark atmospheric beats however Its not what Ive been in the mood for from the East Coast duo who won me over with their honest lyrics and positive attitudes. If the subject matter wasn't to my taste I couldn't deny their flows were pretty solid throughout and at times elevating with technical prowess. On the flip side there are a few singular rhyme flows cropping up with the word niggaz that gets nauseous repeating it over and over and over.

After a few banging beats at the start the album drifts into a continual setting of gritty, deep sub baselines grooving under spacious minimalist leads with flickering trap beats. With violent raps the atmosphere is tense and intimidating. With a lack of lyrical charm it simple wasn't my cup of tea and the most interesting thing beside the instrumentals were references to Master P and Silkk The Shocker of No Limit Records. Always fun to pick up on name dropping in Hip Hop.

Favorite Track: Al Capone

Rating: 4/10