Paris "Guerilla Funk" (1994)

 

Discovering the likes of Paris years back, left me wondering why this talented rappers career never took off. Guerilla Funk highlights what I didn't hear back then. The similarities to Rakim and Public Enemy where of the time, as is this records parallels to the currently emerging G-Funk sound. Gurerilla Funk can be distilled to aesthetic and musical blueprint of Doggystyle, paired with the lyrical aggression of Ice Cube. Bordering plagiarism, Paris picks up all defining characteristics of the style. Cadence and flow runs in step with topicality and phrases, emulating the sound so well it emphasis its tropes and cliches. He is clearly all to keen to step into others sound.

I don't take issue with that but it highlights an issue. Whenever Paris tries to step off this trendy sound's topics, his politically charged rhymes stand in disparity. In retrospection, I see how he didn't exactly define himself among the crowd first time of asking. Two records later, this dramatic shift in tone leaves his own expressions weak, without a definitive style to embrace. Almost every track and flow emulates others.

Critiques aside, Paris is a competent performer, a pleasure to listen too and a talent. Perhaps one lacking his own flavor. Despite its lack of originality, if your into this era the production team put together cuts to compete with the classics. Outta My Life catches an ear for its instrumental, akin to Life's A Bitch on Illmatic but given that dropped months earlier, can't help but feel its a lift. Anyways, point made, a good spin if your into 90s Hip Hop and the G-Funk sound Dr. Dre and Snoop pioneered.

Rating: 5/10

Potatohead People "Nick & Astro's Guide To The Galaxy" (2018)

 

 Reveling in the merits of predecessor Big Luxury, the Potatohead People duo, Nick Wisdom and Astrological, return with another Jazz Hop indulgence. Again, the quality of compositions on display set it apart from expectant groovy indulgences of the genre. Sung choruses, guest rap verses and instrument solos break up the looped foundations. The beats are class, slick jazzy moods frequently leaning into G-Funk and dreamy detours as spurts of soft instrumentation and reverb ups the indulgence.

Last outing, guest verses and lyrics illuminated the runtime. This time, its instrumental cuts grab attention as the songs drift with non linear feeling. The core rhythms stand firm but around them breezy Sax solos, dreamy acoustic guitar licks and Jazz Fusion keyboard tones wrap the groove in organic expression. Especially captivating is the closer Rituals. Its eclectic pull of glitched vocals, gritty saw bass and House pianos acts as a closing novelty you could imagine fitting snugly on a 90s Trip Hop record.

Ultimately, its not too dissimilar a project with a similar flow. The pair lean into a more diverse source of inspirations which they wield to fit their mold. The result tips the scales as its interesting assembly of sounds gets to flourish in the spotlight. The beats built for rhymes come rigid and stiff in contrast. The raps contributed by guests Illa J and the like, have less of an impact than before. Either way, its another quality Jazz Hop craft to pluck out some personal favorites from, that I'm sure will last with time.

Rating: 7/10

Vince Staples "Ramona Park Broke My Heart" (2022)

 

With a talkative tone and casual cadence, Vince returns on this forth outing spinning his introspective thoughts on a breezy laid back vibe. To say business as usual would understate the emotional weight and expressions from this insightful artists. Again, stories and perspectives are told through the personas he inhabits. Lacking the spark a new dimension can bring, the familiarity of his attitude and lyrics lets one swiftly fall into the easy groove the record presents. Its a slow riding, G-Funk inspired chill out where 808s and percussive beats pop low key and the instrumentals croon gently on the subdued, sleepy leaning vibes that drift by with an eerie lack of tension.

I'm not sure if its in contrast to the gravity of topics discussed in his lyrics as there is a lot of pride and warmth expressed where Vince often uses his words to peers into social ills and societal issues. His words make this record feel more personal than the tales of prior projects. His cadence, which at its sturdiest still seems casual, can slip into a breathy effortless slew of words that almost seems intentionally lazy. The vibe is spot on however! These dreamy toned down beats play right into his hand.

The result is a soothing lofty warmth that drifts by yet any attention given to his words reveals a deeper meaning. I love how he can wrap the most potent words into simple lines and expressions to emphasis a narrative. Its almost in rebellion to overworked rhymes and clever wordplay. Vince uses just a drop of poetry and the apt moments so effortlessly. Seemingly much of it plays of as train of thought, ringing of the thoughts directly but a little study often reveals something a little deeper. I do think some of the Ramona Park Broke My Heart's depth does hinge on its authenticity. Are these more personal tales? Either way, its a very easy to enjoy record.

Rating: 7/10

Anderson .Paak "Oxnard" (2018)

There was some hype around this record. I learned of its release from many places and so was compelled to check out Anderson .Paak who Ive only heard in features with Schoolboy Q and Dr. Dre so far. His voice is soft, slightly nasal, compelling, with an easy, laid back flow to his delivery and persona. Bluring the lines between sing and rap he drifts between both, rhyming verses at a variety of paces that makes his presence an indulgence of good vibes as he comes armed with bright instrumentals.

Oxnard rests firmly as a G-Funk, R&B hybrid of Soul and Hip Hop. Its slick and smooth, tight drum beats mark up against warm and jazzy pianos, glossy trumpets, expressive saxophones, announcing horns and silky string sections. Its essentially drawing from a trending direction in Hip Hop, where the samples are replaced with performing artists. This iteration feels as if its constructed from the ground up with the freedoms of composition letting some musical, textural dexterity flourish.

Its undoubtedly a gorgeous sounding record with its lush instrumentation but often it lapses into the cyclical loop a sampled track would have. With the drums dialed down a little it focusing less on groove and more so on the mood and tone. Its a smooth, laid back mood but my overall experience of these songs was that not much stuck from them. It felt like songs were going through the motions, th the most interesting aspect being the various topics Paak would dive into. Slick sound but failed to be infectious.

After many listens I'm left with not a lot to say about the record. Its ideas land but underwhelming. Perhaps I'm not on its wavelength? Its best moment is Tints which illuminates 80s Pop vibes and packages up the records best hook in the chorus. Besides that a few features like Kendrick Lamar, Pusha T and Q-Tip catch the ear but none of them bring anything dramatic to the project. Overall its been a very lukewarm listen which I would hesitate to criticize. I gave it quite a few go's and little clicked.

Favorite Track: Tints

Rating: 5/10

Ice Cube "Everythang's Corrupt" (2018)

Its been a long time awaiting. Legendary rapper Ice Cube of N.W.A is back after a six year delay since the release of the albums lead single and title track. I'm unaware of what took so long to finish the project but to be fair, I wasn't anticipating much. Its decades since the West Coast rapper's hay day but approaching fifty years of age Cube can still deliver tight rhymes with his strong persona on the mic. Between a fair amount of braggadocio he gets into the state of affairs, addressing the American president, the latest statures of political correctness and events like Charlottesville.

Everythang's Corrupt is topical and current, Cube can deliver coherent verses, reasonable hooks and choruses over a distinct production style marked by electronic bursts resembling trumpets and horns that form the key melodies and tunes. A fair amount of Trap drum aesthetics and patterns creep into the percussive construct. Lots of synthetic instruments bring textural tones for the looping melodies that make its crispy clean production sounds sterile at times. Through the sixteen songs everyone is bound to find a selection of preferred cuts however Ain't Got No Haters and That New Funkadelic stand out as a break from the norm with Cube's classic laid back G-Funk vibes being resurrecting for shadows of his best work like Today Was A Good Day.

There is a lot to digest lyrically. Fifty five minutes of verses all of which are pretty coherent to follow dive into various topics and Cube's prominence on the microphone makes for no weak links however he resides firmly in the realm of expectation and thus not to many rhymes schemes leap out at you. He does try out a couple of slower paced, short line flows but not to much effect. Essentially this is a very established rhyme style however the last couple of tracks end on a high. The title track has an amazing energy thanks to the electric instrumental and it rolls into Good Cop Bad Cop which has Cube flowing with a little spice and passion in his voice that hails back to the immediacy of his youth, Its got some of the records best rhymes on it.

This record might be written off by some as an old timer coming back with a routine record for fans but I think Ice Cube's skill as an MC holds up. The instrumentals are infectious with repetition and perhaps some curation condensing this record to its best would of made for a tighter listening experience as their is plenty to enjoy here. Ive liked it more with every listen and I think I will continue to enjoy it until that steam runs out. When trying to hold together some objectivity listening I find that Cube has such an amazing persona on the mic that I always feel lured into whats going on.

Favorite Tracks: Chase Down The Bully, Ain't Got No Haters, That New Funkadelic, One For The Money, Everythangs Corrupt, Good Cop Bad Cop

Rating: 6/10

Parliament "Medicaid Fraud Dogg" (2018)

My interest in Parliament and Funk music is superseded by its influence on the Hip Hop music of the 90s. In this case of George Clinton and his P-Funk musician collective, its the re-imagining of his songs from the likes of Snoop Dogg and Ice Cube that are among some of my all time favorite Rap tunes. Their last record was thirty eight years ago, so it was quite a surprise to hear of a new album in the works, I thought they were done and dusted, the last Parliament tour was in the 80s bar occasional one offs as the Parliment-Funkadelic collective. So after a long hiatus Clinton returns with his son Tracey Lewis to go another lengthy round.

Medicaid Fraud Dogg plays very much like an open, grooving jam, a free for all. It explores avenues with varying degrees of styles, aesthetics and instruments that mostly stick to a Funk template but often slip into rather mellow and jazzy lulls of relaxed expectations. Clocking in over a sizeable one hundred minutes it clearly sets no bars for curation and may test some listeners patience. It drifts from track to track with no obvious theme or direction bar the references to medication culture. Many of the songs have a leisurely temperament about them and a few tracks take a drastic shift as one young rapper gets the limelight to showcase their modern rap style with a tightly produced modern, Trap influenced Hip Hop beat. The track Mama Told Me aims to meld the two sounds together in a rather tragic mess.

It doesn't suit how I enjoy records, yet there is some good music is to be found. Its glossy sound revises lots of classic Funk sounds and ideas. With an arsenal of trumpets, the bass guitar, saxophone, piano and other instruments, Clinton's musicians meld the punchy synthetic sounds with little in the way of new tricks or surprises but certainly with a big dose of style and fun. The production however is insufferable in its inconsistency. The difference in volume between tracks and instruments can be misleading. The loud voice over the quiet music of Kool Aid sounds like an interlude compared to the loud and prominent Dada that follows.

The album hits a few good notes with its "social media ain't shit" hook on the Antisocial Media track. Its a reminder of how little this record lands its hooks. Not even its jiving I'm Gonna Make You Sick Of Me song with its big raunchy baselines and funky synths, fit for a west-coast remaster, can deliver something memorable on the lyrical front. The album rolls out on a lull and given my lack of affinity with Funk music the length may just wear me down. There wasn't a lot to take away on this one.

Favorite Tracks: Backwoods, I'm Gonna Make You Sick Of Me, Antisocial Media

Rating: 5/10

Dizzee Rascal "Raskit" (2017)

It seems to be a common theme lately that I'm checking in with artists after some absence. Dizzee Rascal's an old favorite from the pool of UK rappers, arguably the biggest to emerge from the Grime scene which exploded well over a decade ago. Its still going strong as ever today but as Dizzee wrestles with in his lyrics, hes no longer the biggest or relevant voice in the scene he once was. Times have changed and after a dip in quality on "The Fifth", "Raskit" is the rascal standing his ground, returning to roots and affirming his relevance after drifting into the mainstream with catchy singles and a weak album. "Maths And English" was my last and I adore a couple of tracks on that release, like the banging "Pussyole", an aggressive, gritty mean diss-track rapped over the classic "It Takes Two" by Rob Base & DJ EZ Rock. That was ten years ago! Time flies.

"Raskit" Is a fun record with meat to get your teeth into on the more topical tracks. Dizzee affirms himself with technically impressive flows and a plentiful passion as he goes hard on the mic with a flurry of sharp, witty rhymes and bursts of tongue twisting delivery. Sturdy from start to end the rapping is flavorful, varied and impressive but lyrically its a little varied. With a fantastic track like "Bop N Keep It Dippin" we go from an infectious hook and deep reflective rhymes on the Grime come up into "She Knows What She Wants", a cheap flirtatious throwaway with irritating repetition and cheeky rhymes. Dizzee takes us on some impressive journeys through his thoughts but also falls back on some light minded cheap thrill tracks too which break up what I think was an important focus for this album, the reflection and introspection he has at this point in his career.

Behind him an arsenal of fantastic instrumentals whirl away with deep spacious, textural baselines, sharp, snappy drums and a rich synthetic aesthetic. The beats sway between Grime and Hip Hop, on a handful of tracks diving deep into classic G-Funk vibes with audacious base grooves and ghetto whistles. Its a riot, an continual stream of beats that dips into both ends of the spectrum with "Sick A Dis" getting its teeth into classic Gime vibes with dirty, disconnected synths illuminating over a lively snap and kick drum groove. Its a stellar setting with variety that's in a jumble across the fifty seven minutes. I personally feel this album has a touch to much fluff that needs trimming out because between a couple of passable numbers there's a goldmine of talent from an artist getting back on it and striking hard.

Favorite Tracks: Focus, Wot U Gonna Do, Bop And Keep It Dippin, Everything Must Go, Slow Your Roll, Man Of The Hour

Rating: 7/10

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

Snoop Dogg "Coolaid" (2016)

As he states it in the opening track, Snoop Dogg's a living legend and "Coolaid" is the fourteenth record from the American superstar who solidified his name in the history of music with his iconic debut "Doggystyle" back in 93. He has never manage to reach that peak again but has remained in the limelight ever since, appearing at all sorts of cultural events and consistently releasing records every couple of years. Personally I haven't been particularly impressed with his output since 93 but every record has a few decent songs and "Coolaid" is a slick, smooth record with easy going, polished beats and steady, lush instrumentals. Snoops flow is as smooth and stylish as ever, however a lack of lyrical substance weighs down the mood as Snoop flips the same themes over. At seventy seven minutes the slick hooks and catchy versus get lost between a lot of fluff and mediocrity from Snoop. He focuses much of his words on status, image and general braggadocios themes which get tiring. Snoop has often been about his unique style and persona on the mic but when the rhymes are half baked it can fall flat.

Snoop's production choices are a little varied across the record with modernized beats intermingling with G-Funk and synthesizer instruments. It flows well, hits a high point with the summery oldskool "Oh Na Na" and a low with "My Carz" where Snoop raps over Gary Numan's classic track "Cars". It lacks charm or chemistry, the two styles feel opposed to one another. Then "Two Or More" comes in, another highlight culminating with some breezy jives and Disco like funk. The synths on this track are gorgeous and chorus really sells the track. Its a moment where Snoop and the beats are their best and for the most part you don't quite get both together. That's just how it sounded to my ears, a well produced record that's easy to enjoy but it lacks the trim to put the best moments together in a shorter run time.

Favorite Tracks: Oh Na Na, Two Or More, Kush Ups

Rating: 4/10

Dr. Dre "2001" (1999)

Wising up to the dangers of working with Suge Knight, Dr. Dre left Death Row Records to set up his own label, Aftermath. It took seven years for Dre's anticipated second release to come to light and the timing couldn't of been better. With Eminem's mainstream debut dropping earlier in the year its success put Dre's name in the limelight for "finding" Eminem and gave the record a massive momentum with blinding singles like "Still D.R.E." & "Forgot About Dre", an unforgettable collaboration with Eminem that the two spitting some of their slickest verses with Dre explaining where he'd been while blasting his doubters who thought he couldn't make a "comeback". When Eminem steps up to the mic he gives one of his most vivid raps that continual grew with intensity as he violently describes the two causing havoc and dropping the "Hoping out with two broken legs, trying to walk it off" line. The timing of the record couldn't of been much better and it delivered some of Hip Hops most successful music, but beyond the shiny surface of the singles, this album has a touch of quality on its own level, inspired by a drive to prove wrong to his doubters Dre gave us his best record.

Staying ahead of the game, Dre and co-producer Mel-Man took the clean, instrument oriented direction of the bling era to a new plateau, mixing the slickest, cleanest and tightly polished sound of the time with timeless hooks and flawless songwriting that gave every song a hook and catchy instruments that would stick in the mind for years. Track after track Dre carefully orchestrates a genius balance of instruments that play of each others space, dropping in subtleties behind the leads and narrating themes through short distinctive melodies and grooving beats. Looking into the source materials you can see a large portion of this record comes from the production team alone, and where there source material is used it sometimes barely resembles the original with the tunes and melodies being reinvented on lush, charismatic instruments.

The overall mood and tone of the record is sleek, dark, smooth and grooving. Proving himself time and time again, the main theme follows Dre through the recent years as he reminds wheres hes been and stating that hes still got it through dynamite tracks and raps. As a lyricist he finds his best form here, taking a stronger presence than on "The Chronic" while showering us in classic lines and solid verses that hold up so well over time. Once again there's an array of guests supporting Dre including Snoop Doggy Dogg who appears on two of the albums best tracks, but doesn't have quite the same charm as he did last time, Eminem, Xzibit, Kurupt and Nate Dogg all bringing their best to the record.

Despite having similar blueprints to other Hip Hop records of the era, 2001 is loaded with a substance and style that's executed to perfection. Its a stronger and congruent record that knows itself s better than The Chronic did. There is even an instrumentals version available that sounds great when you're in the mood for just the beats and they hold up on their own. The record wraps up with "The Message", a moving number produced by Lord Finesse, the only one not by Dre and Mel-Man and has the classic Finesse bell ringing quietly in the background. Its a humbling tribute song to end the record on and takes it over the hour mark without a moment of filler. A genius record that solidified Dre's status in Hip Hop forever.

Favorite Tracks: The Watcher, Still D.R.E., Xxplosive, Whats The Difference, Light Speed, Forgot About Dre, Lets Get High, Muder Ink, Ed-Ucation, Ackrite, Bang Bang

Rating: 9/10

Dr. Dre "The Chronic" (1992)

 Departing from Ruthless Records in 92 for similar reasons to former band mate Ice Cube, Dr. Dre set out to establish his name as an individual and teamed up with notorious thug Suge Knight to form Death Row Records. Using muscle and intimidation Suge got Dre released from Ruthless, which would only be one of many "incidents", the two formed their new label and Dre got to work making what can only be described as an absolute classic record that drove Westcoast Hip Hop into the mainstream, launched the career of Snoop Doggy Dogg and marked the beginning of his ever important role in Hip Hop. The memory of N.W.A. was gone in a blink of an eye as Dre took things to the next level.

As a producer Dre is about so much more than just the instrumentals, he molds and crafts the talents of his friends he brings onto his record, guiding their potential to flourish. On every track Dre has several other rappers to support him and even on "Lyrical Gangbang", "Stranded On Death Row" and "The Roach" he gives them all the limelight without dropping a single line. It gives The Chronic a robust and versatile arsenal, keeping things fresh and varied as beat after beat explore different themes with an array of voices to decorate the track. Its a smart move for Dre who's a competent rapper but not the best and in retrospect we here more of his lyrical talents on "2001", however there's some fantastic murderous verses in the cut and Dre's flow is steady, audible with an angry force flowing through the words, coming across with real intention.

With the instrumentals Dre both created and mastered the definitive G-Funk sound with an attentive ear for the melodies and hooks that brought tracks like "Nuthin' But A G Thang" to a new level, reinventing the source samples into stylish laid back gangster tracks with strong spacious instruments and hard hitting drum grooves, the ghetto whistle delivering a remarkable melodic hook and making its presence known on the chronic after its inception on the second N.W.A. record. The bass guitar is bold, rounded and brings a lot of that Funk groove to the fold and with these elements the chemistry is ripe for a record of bombastic, thumping gangster tracks with an infectious dose of melody in places. Its Dre's attention to detail that glosses the beats to perfection with subtle and intricate details hidden between the main instruments, giving them depth without becoming overwhelming.

The Chronic has style and substance, its an attitude and a lot of it can be felt in the source material, but the charm is with Dre and how he reshapes them into a distinctive style that him and Snoop define with their hooks, violent lyrical themes and tight rhyming that has a fair few classic lines scattered throughout. "The Day The Niggaz Took Over" plays out a social commentary over the LA race riots that broke out in response to the Rodney King incident, the song bringing a ferocious energy to a dark shady instrumental. Its moment like these where Dre gets so much right however I do feel the record suffers from burnout towards the end with a few tamer tracks lowering the intensity of the first half. Dre also cuts the beats hard, flipping the momentum into a new track, not a transition I particularly like, but it hardly makes a difference. The Chronic is a classic, but not my favorite Dre record and I always loved the album cover on this one, it remind's me of the kinda of record cover that would be remembered for just that and lost in a bargain bin. Luckily, or not, there's a bomb under the hood and a classic record that wont be forgotten anytime soon.

Favorite Songs: Fuck Wit Dre Day, The Day The Niggaz Took Over, Nuthin But A G Thang, A Nigga Witta Gun, Rat-Tat-Tat-Tat, Lyrical Gangbang

Rating: 8/10

Snoop Doggy Dogg "Doggystyle" (1993)

Known around the world as an icon of Hip Hop culture, Snoop Dogg's story both starts and ends with his debut record "Doggystyle", a Hip Hop classic that broke sales records and helped solidify the west coast's popularity with mainstream audiences. The records success is truly justified by its artistic content as Snoop drilled his persona, slick flow and boisterous G-Funk style home after creating a memorable debut on Dre's "The Chronic". Since the release of this record back in 93 Snoop has never artistically come close to the heights soared with his debut, but has remained ever present with a continual string of mediocre records, guest features and putting himself in the limelight through movies, advertisements and appearances on a frequent basis. He has kept his brand and image going all these years, and its off the back of a classic timeless record that never gets old.

When Snoop first gained exposure through his collaborations with Dre he instantly established his name through a unique style he would be strongly identified for. A slick, steady flow oozing with style and attitude, Snoop's laid back raps were delivered with memorable multisyllabic rhymes, often for the izzle and izzites as Snoop manipulated words with a brand of his own. It wasn't just the flow that was easy going, the straight forward use of language and to the point phrasing had listeners of a broader audience understanding. Snoop also had the light toned "sing raps" in the arsenal alongside a dynamic flow in which he could shift the pace effortless mid verse. The exaggerated gangster persona further solidified his appeal with violent, raunchy lifestyle tales of another culture, glorifying the extremes depicted in his lyrics. On paper it sounds unexpected, but thats what makes it work, glorified gangster lifestyle stories told through charming, slick and softly delivered raps with a mass appeal for counter culture.

As classic as Snoops flow is, the instrumentals on this record are an undeniable staple mark of its success, produced by Dre, Doggystyle represents a finely crafted set of G-Funk numbers that push the style and groove into a universally appealing territory as these layered tracks ease the listener into there charm, a subtler approach from the bombastic, upfront numbers on "The Chronic". Working with tight drum loops, the charm emanates from three instruments, firstly the grooving bass, rocking and swooning under the drums with power and substance. Secondly the anthemic ghetto whistles, blazing swirling melodies and lingering in the mix provide an array of memorable hooks and infectious tunes. Thirdly the pianos, used like a glue to hold the various elements together they rarely take the forefront but reside between the instruments, breathing warm melodics into the grooving sound. Beyond these three theres some fantastic use of electronics and a constant detailed layering of subtitles that can be heard, filling the spaces perfectly.

Its a Hip Hop classic, and a terrific record in general, but on a personal level I've always found this record to have an unusual uplifting vibe even when in the darker, gangster tracks the ghetto whistles, tight bass grooves and Snoops chilled out persona is a warming one. Tracks like "Gin And Juice", "Whats My Name" and "Doggy Dogg World" are all round fun tracks with a party vibe that still feels relevant today. Snoop put his mark on the world with this record, and it will be celebrated for a long time.

Favorite Songs: G Funk Intro, Gin And Juice, Murder Was The Case, Who Am I, Doggy Dogg World, Pump Pump
Rating: 10/10

Kendrick Lamar "To Pimp A Butterfly" (2015)

To Pimp A Butterfly has undoubtedly been the most interesting record I've heard in a long time. I've pondered on its meaning and message, loved its courageous instrumentation and felt frustrated with its pacing, despite the beautiful artistic construct. Its being raved about universally, hailed as potentially being the album of the decade, and an instant classic. I've given myself much time to consume and digest the record, and for all I love about it I'm not quite on the same level with it. I've been anticipating this one since discovering Kendrick's 2012 classic "Good Kid, M.A.A.D City", a stunning Hip Hop record, and in the three years since hes been hard at work on his third record, a undeniably strong one that has certainly not disappointed.

Kendricks expressions and vision is unrestrained on an unconventional and free flowing approach to the album experience, breaking down the conventional Hip Hop format and uniting a concept through a recited poem that features on many tracks, unfolding as with each recitation. The lucid nature of the record takes a step back from itself and reinvents the instrumentation with a closer connection to Funk, Soul, Jazz and even Disco, music thats had an undeniable influence on Hip Hop sound and culture. These songs let the power of the grooves, melodies and Kendrick's expression flow and evolve from track to track thats filled with interludes, poetry and transitions between the tracks that focus on the expression thats not all about raps. Spoken word and poetry reciting, Kendrick gets emotionally raw with his voice on "U" and other numbers that have classy instruments keeping the dramatic tone moving.

The expression is a point I've touched on a few times, and obviously its a racially, emotional charged concept that reflects these times where the racial inequality and police brutality is boiling in Ferguson Missouri. Its the specifics that are illusive, the indirect, poetic language thats powerful, and yet unclear. Kendrick reflects on many historic and cultural figures in black history in vague references that are tied to emotional stress and guilt, delivered with impacting force for thought. The most mysterious of which, "Loving you is complicated" where he ponders on a figure of reach who money made complacent and misused his power and influence. The song "Mortal Man" concludes the poem recital for the last time, leading into a conversation with Tupac who I believe Kendrick is drawing parallels with at a time where racial tensions are hot and he is a racially aware voice in Hip Hop similar to Tupac. Lines like the "Thought money wouldn't change you, made you more complacent" makes me think of Tupac's rise and fall from being the voice of the "young black male" to parading the bling bling image on MTV with gold chains, hot tubs and models. There are many racialy charged lines to ponder the meaning, "My heart is as black as an aryan", and most of "The blacker the berry". Although the specifics may feel blurry, its undoubted that Kendrick is fueled with anger and passion for his people.

When the end of "Mortal Man" rolls around, Kendrick recites a second poem, describing his world. A beautiful metaphor using the caterpillar and the butterfly to express the relation between artists like himself who escape the ghettos to be exploited for it. "To Pimp A Butterfly" comes together in this moment but still leaves a lot to think on as Tupac speaks no more, leaving Kendrick without an answer to his question, that this record might simply be.

The instrumentation and production is sublime, as mentioned before it has a lucid quality and focus on organic chemistry, breaking the sampling and drum machines with a live band feel that let songs grow, shrink, twist and turn with a freedom that looped instrumentation can't achieve without immense construction. A wide array of styles and instruments move in and out of focus and my favorite element, the drumming, is slightly subdued, laying down solid but subtler grooves that are gentle and powerful, bringing a lot of energy without any boombastic presence, its a classy touch and ones that at no time uses any cheap thrills or catchy hooks, this is all substance and style.

Theres a lot to love here, a dense album musically and conceptually which grows fonder with each listen, but my one gripe are the interludes, despite being expressive and theatric and an essential part of the record, they come at a pace that continually breaks up the songs and stagnates the flow somewhat. Theres more I could talk about, but by now id be nit picking specifics, where the album as a whole speaks volumes. I can see exactly why its being hailed a classic, but on a personal level it may take me a bit more time to feel it that way.

Favorite Songs: Institutionalized, These Walls, Alright, How Much A Dollar Cost, The Blacker The Berry, Mortal Man

Rating: 9/10

Outkast "Aquemini" (1998)

Southern Hip Hop duo Outkast are a pair of musicians I'm growing an immense amount of admiration and respect for. I've been impressed with their intelligent approach to Hip Hop, showing strength and maturity with cerebral introspections and social commentaries, combined with charactered production that distinctively sets them aside from other acts. On this record "Aquemini", their third, the duo seem completely in sync with one another. Whether its lyrically, instrumentally, or conceptually, the two deliver a riveting and eloquent experience for the listener on a record thats filled to the brim with fine instrumentals, enticing rapping and an array of cultural interludes that tie the songs together. Good raps and beats is always the formula, but here the two transcend the genre with expressions and themes that create an air of expectational quality reflected in the album covers blaxploitation rendition of the two.

Aquemini is a rich, fluid listen thats stimulating from start to finish. Despite this, its surprising diverse in production, with different themes accompanying the stylish, charactered beats Outkast have put their mark on. "Slump", "West Savannah" & "Spottieottiedopaliscious" feel like throw backs to "Southernplayalisticadillacmuzik", a fair few numbers have the spacious and darker, paranoid instrumentation of "ATLiens" and with songs like "Rosa Parks", "Synthesizer" and "Chonkyfire" the duo break the mold with supreme instrumentals that make use of live instruments like the harmonica, giving them a vibrant edge over the traditional sampling technique. The array of guest musicians contribute purposeful sounds that expand their pallet with guitars, pianos and marching band horns, creating a rich and lasting experience when combined with the sharp and crisp drum machines.

Beyond the illuminating instrumentals the duo deliver solid raps and killer hooks on a thought felt record where every word feels relevant. The themes expand on ATLiens socially conscious commentaries with the heart felt "Da Art Of Storytellin", themes of technological paranoia on "Synthesizer" and the pairs duality on the title track. Most exciting is the delivery which isn't afraid to expand with sung hooks and gospel vocals, in general breaking the monotony with catchy ideas of which all seem to work without fail. It can be felt in the vast array of guest musicians who add a layer and depth to many songs with vocal hooks working in the background behind the raps and the audacity to enhance the flow with layered lines and powerful, yet subtle reverb effects, empowering their rapping voices. I have nothing but praise for this album. Never a dull moment or skipped track, I thoroughly enjoy it in its seventy four minute entirety and can't praise it enough. Although relatively new to me, I can't help but feel I'll call it a classic with time.

Favorite Songs: Rosa Parks, Synthesizer, Slump, Mamacita, Spottieottiedopaliscious, Liberation, Chonkyfire
Rating: 9/10

Bone Thugs-N-Harmony "E. 1999 Eternal" (1995)

The once called "Bone Enterpri$e" Hip Hop group was signed by the late N.W.A. rapper Eazy-E in 93 to Ruthless Records. Acting as a manager and mentor he guided this quartet to success, giving them their name "Bone Thugs-N-Harmony" and producing their debut release "Creepin On Ah Come Up". This record is their third album and second on Ruthless Records that dropped four months after the death of Eazy E, the album title is a tribute to the late rapper and ties in to the groups origin neighborhood.

What sets BTH aside from other Hip Hop groups is their distinctive melodic rapping, the group harmonize together and sing melodies with their rhymes. Their annunciation is accentuated and delivered in a pacing flow, often accelerating and slowing while amplifying the syllables, creating a sharp continual jolt like pulse through the rapped words. Its a strong characteristic of the record that is emphasized on tracks which look to explore the possibilities through many different ideas with harmonization and overlapping. The performance and execution is dynamic and serves as no gimmick, but an enjoyable delivery style.

Behind the raps the instrumentals create a smooth, yet dark atmosphere thats got a subtle G-Funk vibe to it. Compositions consistent of clean instruments, bright pianos, synthesized strings, bells and ghetto whistles that come together in a mature manor, playing out their melodies without over emphasizes. The kits are laid back and sturdy, theres a lot of space in these tracks that don't try to over do it, giving plenty of room for the vocal element to take the lead. There's not a lot of hooks or breaks, a few strong melodies elevate a few tracks but most of the time its about the melodic raps.

As an entire record it dulls with length. Although the group establish a great sound and showcase their unique rapping style their is a lot of filler. The subtler, calmer instrumentals occasionally mis the mark, failing to deliver enough energy or any melodic hooks, and with 17 tracks theres a lot of material here that could of been condensed into something more grabbing. That being said their are also some great tracks where the chemistry between the two are spot on, but they are far and few between. I really liked this record on the first few listens, there were new musical ideas to digest but with continual listening I didn't feel a depth to many of the tracks which would mostly drift to the back of my mind. Well worth listening too though.

Favorite Tracks: East 1999, Eternal, Down '71, 1st Of Tha Month

Rating: 6/10