Danny Brown "Twitch" (2018)

The origin story of this bootleg mixtape is rather interesting! Turns out the Detroit rapper has taken up gameplay streaming on the popular twitch.tv! That's where the name of the record comes from because Danny decided to stream nine songs he has been working on during a recent livestream. These nine songs could be for a new record, perhaps unfinished. There may be more information out there but all I can do is speculate, however all is looking good from here.

Although there is room for variety these songs mostly carry a hard, urban, gritty vibe. Reinforced by a low-fidelity feel they take on a rugged street persona. That however may have more to do with the streaming quality than the recordings themselves. Loose percussive loops and sparse sequences collide with a keen ear for sampling that builds atmospheres through the aesthetics of its sources. The melodies frequently feel second fiddle to the tone conjured and so these beats become rather indulgent.

The lyrical presence has quite the boisterous, aggressive stance. Danny's navel voice and flow raises the energy but around him an arsenal of features from rappers work dark and mean angles. On Cut It Up one of his friends puts in a crazy maniacal stuttering flow to much effect. The opening Funeral Lines features has some similar enunciation with the cries of "brusa brusa brusa". Among his comrades Danny stands out the best of lines and rhymes however they all put in a shift with an abundance of style and little to fault.

For nine "leaked" songs it holds up really well as a short record, clocking in just under thirty minutes. Its gritty, gloomy and maniacal in bursts of harsh attacking rhymes. Danny and his friends go crazy on the mic, the beats step into some dark territory, the closing track especially so as a dirty grisly baseline buzzes while errie haunting vocals call like a distant ghost. There's a lot to get excited about, the production is distinct and the lyrics ripe.

Favorite Tracks: Space Trip, 8 Ball Flow

Rating: 7/10

Notorious B.I.G "Born Again" (1999)

Released two years after his death, Born Again is the first truly posthumous album from the late rapper Notorious B.I.G, a record produced without his input. Its a trend set off by his west coast rival Tupac who was also assassinated in wake of the unfortunate 90s coast beef. The record came to be thanks to Puffy Daddy and his Bad Boy Records, who pulled together a collection of Biggies early demo tape raps and freestyles, pairing him up with other big names in the rap scene. Its also home to the classic self titled song, the first of his I heard, I still remember downloading it from Napster as a kid!

A whole host of names drop onto the record, bringing their A game with tight verses and paying their respects to the great resurrected rhymes of Biggie who has a lot of great material in the vaults. The production is of its time, tightly programmed beats that mostly have bold, punchy, upfront instruments with an occasional touch of aggression. Variety leaves some space for a couple of summery tracks and funky upbeat vibes too but its mostly playing into the street life vibes with an edge of Mafioso Rap, playing close to what can be heard from two years earlier.

The record doesn't try to be more than it is with any overbearing themes or concepts. Each song is its own bubble and on quite a few tracks you can hear some disconnect between the tone and delivery of Biggies rhymes and the backing music but even then it still sounds good. It was really enjoyable to hear more of the late and great rapper. His guest brought excitement too, Eminem turns up with a ghastly verse on the harsh Dead Wrong. Juvenile and B.G. of the Cash Money crew represent the south, Busta Rhymes, Craig Mack, Nas, Mobb Deep, Method Man of the Wu-Tang Clan and even Ice Cube and Snoop Dogg of the west coast join in paying tribute. Its a fitting farewell but far from a classic, just a solid collection of songs that any fan can pick some favorites from. The following Duets I have not heard anything good of though.

Favorite Tracks: Notorious B.I.G, Dead Wrong, Tonight, I Really Want To Show You

Rating: 6/10

Pusha T "Daytona" (2018)

Daytona is the first to be released from the so called "Wyoming sessions", another Kanye produced record with seven songs clocking in at twenty one minutes, adding up to "all killer no filler". This is Virginia Beach rapper Pusha T's third record, who interestingly didn't get into the rap game to his mid thirties. Its the first time Ive checked his work out, not a bad place to start! Daytona will be in contention for the best of the five Wyoming records, Its on par with Ye, miles better than the disappointing Nasir but Kids See Ghosts has to be my favorite so far, that record keeps growing on me with continual listens.

Daytona is a project all about the rapper's presence on the mic. Pusha T has a healthy toned and youthful voice that's well spoken, crisp, delivered on a steady, sturdy flow. There is a distinct lack of loud, obvious wordplay or an attempt to be overtly fancy with the rhymes or flashy. Its all focused on getting the fundamentals down and delivering the narrative which he does with precision. Initially I found his vocal clarity and plain flow to be dull but with repetition the power of his verses shines through with well articulated narratives and thoughts that creep up on you as familiarity sets in. His underplayed presence hides smart analogies, comparisons and clever cultural references that emerge with each listen as the words become better known. One of the more obvious accents to this record are the call outs to Hip Hops history. Pusha T interpolating classic flows and rhymes from the likes of Jay-Z and Tupac into his songs with tasteful timing.

Behind him Kanye throws together a collection of sturdy instrumentals that don't do a lot to dazzle the listener but they do hold down a firm tone and musicality for Pusha to make his presence known. The features help add some flavor and spice up the flow with addition voices and some well timed cultural singing from Mike Dean. My favorite moment on the record is when the two team up on "What Would Meek Do?" for a grittier, dark song where Pusha asks Kanye how he would respond to the hate and Ye drops in with a carefree "whoop... scoop... whoop... whoop-di-whoop". Its so odd but the timing is just right and it lets him roll into his response with a fresh, powerful energy. This record is fantastic, sturdy, bullet proof rapping that leaves you wanting more!
 

Rating: 7/10

Celph Titled & Buckwild "Nineteen Ninety Now" (2010)

I first heard about this collaborative record eight years ago when it was first released. That was right in the prime of my interest in 90s Hip Hop, which this album its unsurprisingly all about given the record's name. I was reminded of it recently having dived into Kool G Rap's 4,5,6 album which Buckwild handles a few beats on. Finally getting around to it has been fun but given how much more open minded to music I am now, I can't help but feel I would of enjoyed it far more back when the 90s was all I would listen to. So who are this duo? Buckwild is producer who's worked with the likes of Brand Nubian, Big L, AZ, Puffy Daddy, Jay-Z and Notorious B.I.G. Celph I know less about, however I learned through this records lyrics he was part of the group Equilibrium, who's debut 7" record I've enjoyed for years.

As a conceptual record Nineteen Ninety Now worships a glorious part of Hip Hops history by fully embodying the era's aesthetic and attitude. Buckwild pulls out a full set of prime instrumental beats that could mistake anyone of the decade. A keen ear can hear an increased clarity but the atmosphere, the vibes are spot on, as if they've been plucked from Lord Finesse, see Tingin', and Big L, see Wack Juice, records to name a few. These beats seriously parallel the whole approach and style that will have you hearing nods and tributes on every track. Swashbuckling runs through a few beats with heated baseline akin to House Of Pain. The previous track "Fuckmaster Sex" takes a page from the classic Doggystyle, a cut you could easily slip into that record, Celph even does the high pitch rhyme affirmations just like Snoop did. I could go on, its as if Buckwild has made a whole bunch of templates from the era's slickest beats and its all fantastic.

Lyrically I have to be critical, Celph's flow and rhyming ability is undeniable, he has really mastered his swift and well enunciated style but the amount of self affirmation and braggadocio gets tiring as his lyrics reveal a rather bitter and out of touch streak in his personality. Lots of the lyrics get drowned in homophobia and excessive gun worship between criticizing newer generations from a close minded, elitist perspective and hating on many different groups of people. It may be lyrical fun but hes lashing out at a fair few stereotypes that seems overtly judgemental and unprovoked. It could of been an annoyance but unfortunately these topics dominate the narrative. The opening tracks stirs up some fun as the two introduce themselves and praise the era but it doesn't take long for the hate train to start. Its a bittersweet record, the beats are sublime, some fantastic features too but Celph's attitude spoils the message which should of been love not hate.

Favorite Beats: Eraserheads, Mad Ammo, Tingin', There Will Be Blood, Miss Those Days, Styles Ain't Raw

Rating: 7/10

Cardi B "Invasion Of Privacy" (2018)

American rapper Cardi B's breakout single Bodak Yellow caught my attention, as it did for many people. The hit single has gone five times platinum, launching her career into the limelight of the Hip Hop scene. Her unapologetic attitude, empowered delivery and plain use of language lets her Bronx accent charm on the microphone while she flows at a steady, sturdy pace that's easy to take in. She's got a vivid persona, energy and passion thats all about her rise to fame, a rags to riches tale of working hard to escape her life as a stripper and make in the rap industry, which no one can take away from her now given her record breaking arrival on the scene.

Unfortunately there is little substance beyond her hustle hard story which is told well on the opening track. With the album loading its best tunes into the first five tracks it quickly descends into a mud slinging romp of aggressive hyperbole after she tells her break up story on Be Careful. It starts with Chance The Rapper who features on Best Life, singing with a weak temperament, delivering a forgettable chorus repeating the "skrt skrt" noise over and over. From this point the record losses me entirely, either its the beats, rhymes or singing but something on earth track just rubs me the wrong way.

Money Bag has a banging beat and Cardi's flow is fire but lyrically is all to bitter and spiteful to enjoy, constantly taking hits at her doubters over and over again. When its become the recurrent theme to talk down at the same people it gets stale quickly. Every song focuses on throwing out insults while showing off her wealth and riches with a typically materialistic and braggadocios manor. These are the points where rappers can easily loose me and unfortunately it seems to be all Cardi has to offer beyond her endearing rags to riches story told in the first few songs.

The production is as modern and trendy as it gets. Pretty much all you could expect from the current state of Hip Hop. Some of the songs really go overboard on the "skrt skrt" sounds and goofy noises, the Migos manage hold themselves back somewhat and drop in with breezy verses utilizing a lot of spacious reverb to much effect on Drip. She Bad on the other hand has the laziest hook writing Ive heard in some time, just repeating the same words over and over. Ultimately this record just leaves me disappointed, I hope Cardi can find some real subject matter to get her teeth into on future albums because without substance her flow feels wasted to me.

Favorite Tracks: Get Up 10, Bodak Yellow

Rating: 3/10

Kool G Rap "4, 5, 6" (1995)

Prior to some research on this record, I would of lumped in Queens rapper Kool G Rap in the Golden Era of Hip Hop, simply for my vague memories enjoying his records with DJ Polo and also as a name I hear a lot of my favorite 90s rapper cite as a big influence. Turns out he is considered an originator of Mafioso Rap for some of his street rhymes with DJ Polo. After three records the two split and this debut as a solo artist comes out right at the peak of Mafioso Rap's emergence. Around the same time Raekwon, AZ, Nas, Mobb Deep, Notorious B.I.G and Jay-Z dropped classics in the sub-genre. Its what caught my ear when it spun on shuffle. Ive been binging it the last few days and adoring how sweetly it sits into that moment of time, its truly of the era.

My biggest take away from this record is Kool himself, his ability and technical prowess is simply undeniable! He spits fast and concise with a strong tone that makes every word visible as he navigates through tricky flows of rhymes that one might say "he makes sound easy". The reality is obvious that he is rhyming tough and hard, fast technical schemes that pay off with his ability. It makes me think Ive overlooked a great here. If his ability is great the lyrical content may be a step behind, coherent story telling violent word play doesn't have quite the emotional weight to reinforce his impressive ability. Kool navigates us through tough Mafioso rhymes of hardcore street life and criminology rap thats gritty and dark, steeped in violence and gang life however it always feels short of a point or any social context or message.

The production is all you could hope for from a mid nineties Hip Hop album. Caught in that sweet spot between jazzy samples and programmed instrumentation, it plays out with a nice amount variety reflected with the tone of songs like "Take Em To War", dark, menacing and gloomy which over a few songs finds its way to "Fast Life", a sunny summer party track flashing the wealth and lifestyle side of family crime life. On first listen I was literally thinking this song would be perfect for Nas who then steps on the mic and delivers a fantastic verse. Parts of the record felt a little deju-va, as some of the songs feeling somewhat cast from the mold. Echos of Big L's instrumental style can be heard with the same samples and gang shouts parallel to his debut. Of course looking into the producers we have Buckwild who explains the similarity, his "Blowin' Up In The World" has some of the same beats, samples from Big L and the gang shouts have to be by the same guys! Maybe it was a left over from that session that made it here.

If I sound critical, its all praise, the production is wonderful, the instrumentals are what I love with exception to the final track that samples Herbie Hancock's Watermelon Man. Its a really fun instrumental but its totally contrasted against the violent, money obsessed lyrics. It just sounds odd as a whole. Overall its a sharp and keen album that's bang on the Mafioso crime family vibes and I feel it falls a little short in terms of lyrical substance however the brilliance of Kool is obvious and I'm left feeling like I need to get better acquainted with his work.

Favorite Tracks: Blownin' Up In The World, Fast Life, Ghetto Knows

Rating: 7/10

D12 "The Underground EP" (1996)

The Dirty Dozen, better know as D12 are a Detroit based rap collective formed in 1996. They are best known for their association with founding member Eminem, who created his Slim Shady persona for the group, each of the six members had alter egos to make up a dozen. My recent foray into some of Marshall's early records and Soul Intent demos led me too this record I completely forgotten about. Its no surprise because its a poor demo release, perhaps hindered by the poor fidelity of some tracks which border inaudible as the bass rumbles and overpowers the rappers.

I was never big on D12, Purple Pills and the like where fun back in the MTV days but only one track, Fight Music, still sounds reasonable today. The rest of their material sounds immature and intentionally shocking upon reflection. Lyrically this EP has more substance in flashes but also some indulgences in intentionally provocative lyrics. Its a high pitched, Beastie Boys alike, Eminem and filthy Bizzare that lead the front on the shock lyrics. Proof on the other hand comes with far better verses than anyone else around him and gives the record a couple of credible track.

The production style dominates my lack of enjoyment. The beats are stripped back and dull. Popping snares groove of light, brief bass kicks and thin hi-hats while melodies are reduced to a minimal amount of notes. The sub bass rumbles with a lack of coherence, just punching in the space around the kick drum adding next to no value. Cock And Squeeze ads some thickness and color to the sound with an indulgent, hypnotic sample but the the choice to cut the volume dead in time with the beat is a firm reminder this style is just not my cup of tea. Its all to stiff and monotone, I can't groove with it. One track, Derelict Theme, manages to overcast this style with some powerful, moody strings that bring a rich and gnarly atmosphere to the track but one reasonable song in a stint of drab duds couldn't save this record.

In their inception there is little other than Proof that stands out and shows promise. You can however hear some obvious influences on Eminem's career, especially when he gets into production in the mid 00s, his hard cut style has some similarities to whats attempted here. The Underground EP is unfortunately a dull record and given the fidelity of Art Of War it could be argued that the quality of this lost, out of print record may play a big hand in its lifeless feel but since this is all we have, it is what it is, somewhat of a stinker.

Rating: 2/10

Migos "Culture" (2017)

I wasn't moved by their break out hit Versace at all but having heard the Migos mentioned so often recently I figured I would give the American Hip Hop trio a try. I didn't expect much but walk away really surprised with how much I enjoyed this record. Its one half dope beats and another half comedy as these soon-to-be-dated over stylized trendy vocal sounds utterly dorky and ridiculous to the point where I find myself chuckling away at the "skrt skrt" noises and other comical sounds they conjure up, not to mention a rap from Lil Uzi Vert who sounds slightly concussed in his rhymes.

The production here, handled by many hands, is tight, crisp and modern. A spacious approach leaves lots of room for the excessive reverberations to bounces around in the space between instruments. Trap influenced hi-hat grooves rattle away over sub base kicks that snappy snares pop off of. Simplistic short melodies play steadily on pianos and similar synthetic sounds with occasional symphonic strings and the like in the backdrop. The tempo is steady and track after track sounds sharp, slick, laid back and oddly relaxing with a slight air of danger and eeriness on a handful of numbers. Its just the right atmosphere for the Migos to do their thing.

Lyrically... the verses are lacking substance, not a lot of the lines stuck with me beyond acknowledging the excessive braggadocio however I felt these modern and triplet flows were pulled of really well, lots of the vocals resonate in the atmosphere and the use of auto tune and pitch shifting effects felt aesthetically pleasing. Some of the records most memorable lines were essentially borderline gibberish but the delivery kept getting them wedged in my mind however the most fun was with the strange sound effect alike vocals making "pew pew pew" and other strange noises over the shoulder of the rapper on the mic. It amused me greatly.

Rating: 6/10

Favorite Tracks: Bad And Boujee, Deadz

AZ "Doe Or Die" (1995)

A year beforehand Brooklyn rapper AZ made his debut with Nas on Hip Hop's finest record, Illmatic. Although its mark as the epitome of smooth 90s beats and Nas's poetical flows take much the praise, critics rarely fail to mention AZ who illuminated himself with an unforgettable opening verse on "Life's A Bitch". The pair team up again on a couple of tracks for his solo debut "Doe Or Die" which follows in a similar vein, smooth jazzy samples complimenting rugged grooving drum beats with a barrage of swift, intelligent lyricism that rolls of rhymes faster than you can digest them.

The album defines itself through the lyrical vibes of an emerging Mafioso Rap sub genre, AZ's slick technical flow is idealistic for the fast flipping of crime family imagery, he drops names of known criminal figures between that of expensive brands, luxurious goods and of course plenty of word play in the firearm department. Talk of excessive wealth, luxury living mixed in with the contrasting world of government agencies spying and the paranoia of Illuminati organizations paints the tone intensely. Samples clipped from mafioso movies and slick instrumentals find themselves on a similar wavelength however the production is rather varied, the title borders on a West Coast G-Funk sound with its ghetto whistles for a song fondly reminiscent of Skee-Lo, while other tracks like "Sugar Hill" move on different vibes with deep rumbling low-fi baselines and R&B singers in the choruses.

Eleven tracks handled by nine produces is understandably mixed but a few weaker cuts have it falling short of variety as a strength. It strikes pure gold when AZ and Nas team up on "Mo Money, Mo Murder, Mo Homicide" the two teeing up their best rhymes, sweating out luxurious criminality spoils between the violence and murder. Much like Nas, AZ paints a vivid picture with his words, and that technical, swift flow of his is engrossing, especially when he drops into story telling. He brings a wealth of material to the mic but somewhere between his abundance of talent and varying degrees of production it feels as if the brilliance is only glimpsed at. Immensely enjoyable record but leaves me feeling it fell short of being truly special.

Favorite Tracks: Gimme Yours, Sugar Hill, Mo Money, Mo Murder, Mo Homicide, Doe Or Die

Rating: 8/10

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

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

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

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

Kendrick Lamar "DAMN." (2017)

In his creative prime and swiftly moving forward from his instant classic "To Pimp A Butterfly", Compton rapper Kendrick Lamar hits us with a perhaps unexpected stark visual style, a picture of the rapper with a simple font in that brightest red shade. No conceptual art, polish or touch ups, just the the word damn. It would stick with me as the record opens, gospel singing and sorrowful string sections lead us to a sudden twist as a man is shot trying to help an elderly lady find her glasses. That and Kendrick going of on one at the end of "DNA.", the bass drops and Kendrick raps like fire, it had me literally thinking "Damnnnn". They would not be the only impressive moments of surprise and astonishment. There is a lot of creativity to be found here.

With the bar set so high, Kendrick does a fantastic job of moving forward, forging a new set of instrumentals to conjure a different tone. Far more electronics and lots of vocal manipulation fill the background of tracks between tight drum patterns and slamming sub kicking bass lines. Occasionally organic instrumentation comes into the fold however everything feels tinged in manipulation, acoustic guitars soaked in flange or beats cut together with reversed samples which seem to increase with frequency as the record draws on. "FEAR." has him rapping in reverse and the closing track "DUCKWORTH." reverses many vocal parts and beats like a tape playing backwards and speeding up. It ends up ending the record where it started off.

Instrumentally there's a lot of hands on deck, it plays through well but can sway in different directions, from dark futurist bangers, to old school beats like "FEAR." and a couple of pop tunes too. Although it offer a fair amount in places, its Kendrick who lights the tracks up with his flow and sharp lyricism, playing both direct conventional narratives and more artistic flavors too even throwing in a tribute to Juvenile's classic "Ha" where each sentence paints a scenario and asks a question with the simplistic ha? statement. He comes up with his own statement led rap with the iconic "I beat your ass" rap, painting a rather sorrowful tale of abuse in a broken home. Lyrically hes got relevant and smart introspections on his fame, role in his community, self perception and where things are heading and usually they unravel best in the faster of his flows.

 There is much food for thought but not everything is about thought provoking, which leads me to the weaker side of the record. For the moments he strikes gold there are equally some rather tame or uninteresting tracks, for me "HUMBLE." was a stinker. A couple of pop tracks, "LOVE." & "LOYALTY." don't raise the eyebrow much either. Its all preference and taste but I feel that Kendrick has put a firm foot forward and compartmentalized his current situation it a set of songs covering it from different angles. Which in turn means not everything follows the same path or relevance.

"XXX." is possibly my favorite track, moving through three phases we get very contrasting flows and instrumentals that gel together almsot seamlessly despite going from a raunchy cranking beat laden with police sirens to a smooth Jazz Hop instrumental with vocals from Bono. Its the shining example of what this album might have been but with its different aspects its as if the spell cast on the opening tracks gets chopped and churned on its way to the finishing line, spewing out many amazing moments between some relative mediocrity. I cast my mind back to how it took me sometime to really get into "To Pimp A Butterfly". I hope I'm late to the game again but right now it feels like Kendricks genius shines bright while a few clouds pass by.

Favorite Tracks: DNA., FEEL., PRIDE., XXX., FEAR., DUCKWORTH.

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