Black Rob "Life Story" (2000)

 

Sad to say, but this debut has been a major disappointment. Bad Boy records seems to save its best for Puff 's records. I Love You Baby was a fantastic introduction, a tense, dramatic song, built up by mafioso string sections and Rob's gritty story telling. This song sharing also happened with Mase, here it features three years later!

Life Story has weak production. Sounding like left over cuts from prior records, similar Bad Boy tones emerge, subdued by there mediocrity. Soulful croons, trendy repetitive groove beats, mafioso theatrics and rubbing shoulders with R&B singers, it all feels a couple years behind the mark. With more care this might have gone somewhere.

Without lively backing from instrumentals, It becomes obvious Rob's aesthetic and temperament isn't all too exciting on its own. Gloomy moods are common and his story's often lean on the depressive side. Without that much needed musical relief from the brevity of expression, these songs frequently lull into a dull drone.

Thug Story is the one track of merit beside the aforementioned. Rapping over Slick Rick's classic Children's Story, the liveliness illuminates Rob and elevates his performance. His take on the original rhymes are decent, repurposing its tale for his own. These two tracks were all I found among this unfortunate misfire.

 

Rating: 3/10

Nas "Magic 3" (2023)

 

This swift trilogy concludes on time to celebrate the rappers 50th birthday. A startling reminder that Nas is yet to show is age, vocally speaking. Perhaps we hear it lyrically, in shared wisdoms, aged cultural nods and reflections on his past. Magic 3 retreads familiar territory, affirming the fruits of this collaboration. Hit Boy's contribution seems to lean on vocal snippets. Clips and samples of classic soul singers brood, tilted and slowed for an aged, slightly low-fi aesthetic. The percussive grooves aren't as bombastic, giving its forty five minutes a mellow, low key presence... for the most part.

When Nas gets into a story, the chemistry shines. His best tracks, like Based On True Events, run focused and cohesive, much like some of his classics from the past, he has a timeless knack for keeping one engaged as he can keep the flow within the narrative for all a tracks verses. He pretty much handles the record alone. The one feature, Lil Wayne, comes with a sudden shift given his strained nasal tone. The rhyme scheme doesn't compliment the track, the verse sticks out like a sore thumb.

Overall, the conclusion arrives hastily on the heels of "franchise fatigue". This era has been stellar but the depth is overwhelming now. Considering the preferred structure of beat and rhymes remains unchallenged, one is left with a lack of distinction between projects. Whatever comes next for the rapper, I hope he challenges himself on both fronts to find new ground as this territory has been thoroughly explored.

Rating: 6/10

Nas "Magic 2" (2023)

 

I'll make a prediction, like King's Disease, Magic will become a trilogy too. The enthusiasm for this career rejuvenating partnership with producer Hit-Boy gets stated at intervals among these eleven songs. Like its predecessor, Magic runs lean at a thirty minute mark, breezing through cuts slicing 90s vibes with current styles in Hip Hop. A competent record, ticking all boxes of the duo's recent, remarkable, success.

Sticking in their lane ultimately leads to a lack of novelty for returning listeners. Topics circle a familiar stance affirmation, confirming this revival once again. Wedged between, a fair dose of nostalgic reflection on Hip Hop's greats from Rae & Ghost to Eric B & Rakim as well as referencing the rags to riches story frequently. After several spins one can't deny the lyrical ability on display but its mostly felt in Nas's flow. At times, his rhyme schemes feel built around puns and references over the narrative.

 The magic, pun intended, has somewhat dulled. Perhaps a case of listener fatigue, or artistically exhausting the source. No doubt the duo have more to offer but at this pace the chemistry has yet to evolve and despite its potency, I found the dose has become to large to leave one watering for more. Magic 3 will be a must listen but I'll expect simply more of the same. Fun for a while but the astonishment has faded.

Rating: 6/10

Nas "Magic" (2021)

 

Released Christmas Eve, seeing Magic in my inbox was quite the surprise. With King's Disease III now confirmed for 2022, I expected that this shorter album, clocking in just under 30 minutes across nine tracks, would be a collection of outtakes from his fruitful collaborations with Hit-Boy. But alas it is not so! If anything, Magic speaks volumes to the stride Nas is on as his lyrical content feels interchangeable with that of King Disease II. Thinking of these songs as sub-par in anyway is erroneous. It simply seems as if he is oozing with creativity right now and enjoying sharing it with us all. Unsurprisingly though, the tone of these songs are in the same lane. Nas is offering up his unique personal perspective within the Hip Hop scene and addressing his audience with wisdom and a little introspection in doses, much as he has been doing.

Wu Is For The Children is the one underwhelming cut. A reference to the Wu-Tang Clan setting high exceptions for a dreary percussion-less track. The following Wave Gods brings on DJ Premier to drop his iconic drum break style and scratches of classic Hip hop snippets whilst resurrecting Gang Starr themes. The opening Speechless kicks off with a remarkable verse, referencing fallen musical icons of the twenty seven club and the grittiness of his neighborhood. Its a wonderfully articulate flow that extends into Meet Joe Black as Nas touches on successes built, mistakes made and criticisms keeping him energized as he words it. Interestingly it ends with a snippet of individuals mocking his Hip Hop I Dead record statement from back in 2006. I didn't feel like his words provided much of an answer to that though.

Ugly is a wonderfully aesthetic track as its wobbling distorted sampling creates a foggy drone for Nas to paint a gloomy scene with his words in the opening verse. The following couple of tracks are much livelier in contrast and his rhymes are tight and slickly delivered as you could expect. All in all its a sweet selection of tracks to salivate on in anticipation of part three. Not much beyond that though. Hit-Boy's approach get one in the mood but I didn't feel like these beats were exceptional. There wasn't anything here that "leapt off the page". I'm satisfied, left with high hopes for KD3!

Rating: 7/10

AZ "Doe Or Die II" (2021)

Twenty six years later, New York rapper AZ releases a sequel to his Mafioso Rap gem Doe Or Die. In the world of Hip Hop there isn't a great track record for artists reviving classics further down the road. That's why I almost passed this one up but a quick check in had me impressed. Now approaching fifty, AZ's voice sounds barely aged, a little rough at the edges but his slick flow and youthful tone is well intact. Most surprising of all, hes got expression in abundance, riffing bars from start to end without an inch of nonsense to be found. This is quite the exception for an aging generation of rappers.

With his timeless flow intact, the tightly stacked rhymes flow again. Grooving off his effortless cadence the lyrics weave between wisdom and observation as AZ drops knowledge and intelligence into his tales. Reflecting on the angels and devils of lifestyle and environment, he paints a path out the dangers of street life with a keen maturity that oozes with confidence. The Mafioso flavor creeps in here and there with his poetic word choices painting lavish pictures however its often withdraws from the violence as his words wave weary warnings to the dangers of such lifestyles.

Its a total pleasure, AZ shines with every verse of this record. Its strangely his guests who spoil the flow. Variety is important and Lil Wayne brings an interesting approach for his feature but every other rapper here just doesn't fit with the vibe. They mostly work in the shadow of AZ, trying to deploy a similar style. English actor Idris Elba also lends his voice for the intro too, however it again doesn't feel like the right fit for an album opening monologue. I think I could of just listened to AZ from front to back. This leads me to another observation, the absence of Nas. With both being active its a shame they didn't hook up again. AZ was a special part of Illmatic, arguably the greatest Hip Hop record of the 90s. Who would of thought these two would still be on top their games all these years later? With them on such good form, hearing him here would of been sublime, I'm sure!

With such an abundance of great rhymes, sadly the beats that struggle a little here. Mostly they conjure moods adjacent to the 90s style. Sample oriented and using oldskool break loops they provide a firm footing but lack a cutting edge. Often toned down, they give space for AZ to occupy clearly, not being overly ambitious or overbearing. On one hand they've essentially crafted beats within the 90s time machine. On the other that doesn't give it much in the way of freshness but I've got to give props to the craft, of all the artists trying to relive that era, this probably came closest. The closing bonus song however throws most that out the window for a more modern sound with some Kanye inspired vocal inclusion with the hook.

 

 Doe Or Die II is an anomaly, a sequel mostly worthy of the name. It can't replace the original but it compliments it wonderfully. My only qualm is a sense of its impressive stature being more analytical than emotional? This is a common problem when observation intersects the nature of mood and inspiration. Is it me or the music? I feel like I could love this more and as I often say, into the collection it goes ready for shuffle to find me again later down the road. I'm sure then these songs will be more than a welcome surprise.

Rating: 8/10

Nas "King's Disease" (2020)

After a disappointing Kanye West collaboration, Nasir, it is great to hear the king of poetry on the mic get back on form with a fully self realized album. Kings Disease has its concept and theme running from front to back, tying the woes of fame and success back into his current adventures and frame of mind with thoughtful maturity. Its a collection of reflections and life lessons, Nas brings his wisdom and knowledge to us through his lyrical prowess, just as hes always done.

Hip Hop however is a game of two halves and initially a source of excitement, the instrumental aesthetic gleam of its opening track dulls swiftly. Heavily Kanye inspired, a voice oriented production of soulful sample stitched together in peaked, distortion embracing styling dominates the opening tone. Initially grabbing, it becomes somewhat of a drone when the colour fades. Being the statement affirming track, it ends up becoming a fumbling start to the record.

Past this moment its sharp percussive beats and blue pianos paint most these songs with a jazzy, soulful uplift reminiscent of the 70s with a shade of street smarts. Its rooted though, no nostalgia trip, firm urban vibes perfect to resonate with the songs various themes. Although they don't deliver diversity instrumentally, the consistency its helped along by the short nature of these songs. They house his verses with purpose, never stretching the material, keeping it all concise.

This is helped along by a fair number of features, including The Firm, bringing Dr. Dre out of the shadows for a brief but underwhelming appearance. AZ returns on the track too, great to hear his Mafioso style is still potent. Without diving into the topicality with any specificity, its mostly mature, level headed thought around the struggles of black life in America in this day and age. Not straying into any contentious or polarizing avenues, Nas paints a path forward, an air of uplift about where things could go. Its a natural current of positive he emanates, or possibly that I perceive.

Nas is still on point, his knack for swift poetic flows interwoven with street talk is firm and proud but without surprises or aces up the sleeve it leaves one wishing for a little more. Kings Disease ticks all the boxes but after a few spins sits a strange place where the excitement has dulled. Perhaps this is one to come back to after some absence has brewed and see how it sounds once again.

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

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

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

Wiley "Godfather" (2017)

 Grime continues to grow bigger and I'm short of excuses, its about time I dived into another artist besides Dizzee Rascal and what a place to start! Its veteran Grime MC Wiley's eleventh album since his debut back in 2004 and Godfather is clearly the product of a master at work. At thirty eight years old Wiley brings a heavyweight of experience and craft to his rhymes, elevating the style beyond the street swagger and dialectic eccentricity Grime MC's rely on to a place of true substance. There's barely a word wasted across fifty four minutes of filthy banging beats and beefed up energetic raps with plenty to say.

Wiley's voice dominates the record with the sharpest flow and wit but he also brings over a dozen friends to feature on the tracks creating a wealth of variety as they handle some of the hooks and choruses too. Everyone brings their best and the same can be said of the instrumental production, lively, loud obnoxious beats with groove and attitude command your attention. The album vibes on dark and grizzly atmospheres with violent, menacing beats echoing the sound of London's streets. Slick mafioso strings rub up against dirty buzzing baselines and gunshots litter the gaps between sturdy, crisp, hard hitting kits that lay down tight patterns to anchor the rhymes and instruments together on the same wavelength.

Its one banging track after the next, the foot is never let of the gas and Wiley's sharp, concise flows make it easy to follow his train of thought as he slides in plenty of technically gifted trickery, sliding in bursts of double tempo words. Between the boisterous status affirming stances loaded with smart word play a couple of remarkable messages emerge, the story of the come up plays on "Speakerbox" stating the struggle origin artists like Wiley went through to make Grime happen and set the stage for future generations who can now do this without help from record labels. "Laptop" tells a more personal story of the hard work and grind centered around the love of making music on his MacBook.

Godfather scratched itches that modern Hip Hop hasn't come close to in recent memory bar Kendrick Lamar. Although the album is strictly Grime, "U Were Always Great" has a fantastic instrumental reminiscent of Jazz Hop summer time chill outs. Its all positives although a fairly predictable streak of materialism runs through on tracks like "Name Brand" given the fashion culture around the scene. The track "Bang" plays with fire as guest MC Ghetts goes spitting with an overtly aggressive tone that avoids being to much to bare. The strong instrumental holds it together and I'm left walking away from this one itching for more. The question is what Grime record should I pickup next?

Rating: 8/10

Favorite Tracks: Bring Them All, Joe Bloggs, Bang, U Were Always Part 2,

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

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

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

Mobb Deep "Hell On Earth" (1996)

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

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

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

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

Rating: 7/10

Mobb Deep "The Infamous" (1995)

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

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

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

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

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

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

Rating: 10/10

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

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

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

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

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

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

Rating: 9/10