Showing posts with label West Coast. Show all posts
Showing posts with label West Coast. Show all posts

Thursday 28 September 2023

Paris "Guerilla Funk" (1994)

 

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

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

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

Rating: 5/10

Saturday 26 March 2022

Cypress Hill "Back In Black" (2022)

 

Has it really been four years since Elephants On Acid? Having been underwhelmed by Cypress Hill's long awaited return, I found myself rightly cautious about its follow up. Back In Black lacks the input of DJ Muggs and it hurts the group. With Black Milk handling the production, a rather subdued atmosphere arises from steady and cautious percussive arrangements. Its accompanied by darkly urban sampling that rarely leaps of the page, always residing with a soft temperament where the danger is far away. The lean baselines bring some redemption with classy aesthetics, its far from a saving grace. The drum grooves sound weak and thinned out lacking, urgency or a sense of imposition. I think subtlety and craft were the aim here yet its slow tempos and lack of bombast leave the general tone a dull and lackluster one. 

Sadly, both B-Real and Sen Dog seem to be on autopilot. All their verses flow with the same cautious pace. Its rock steady yet rigid. The immediacy and enthusiasm of words are lost in the monotony. Even the better word plays and rhyme schemes lull into this complacency. The records lyrical themes signify a return to roots. Gritty and mean, the pair delve back into gangster oriented tales of urban life in the city. Perspectives are offered, stories and braggadocio as to be expected. B-Real and Sen Dog also reflect on their roll in legalization and a change in cannabis cultures reception in the social fabric. These could be landmark chapters given Cypress Hill's history but this points too falls blunted like much of the record impact.

Every song has the same structure with instrumentals on loop, just going through the motions. Where are the hooks and choruses? Not even a break or beat switch. Sure, each song a hook line in its chorus but it all flows with the same cadence and the verses before it. No song has a memorable spice and a couple attempt to recycle their own or other classic hooks. Black In Back's merits are lonely, just the experience of its two voices to carry a bulk of mediocrity to its conclusion without being offensive, off color or cringey. I have no reasons to return to these songs again. Cypress have announced the next record will be their last and that it will be with DJ Muggs. I hope they find a way to go out with a bang cause this was a soft whimper.

Rating: 3/10

Wednesday 21 October 2020

Cypress Hill "Demo Tape" (1989)

Decades into this wonderful internet experiment, one can easily find rare tracks, b-sides, outtakes and demo tapes that used to be privy to a handful of ears. With another nostalgic plunge, I looked up Cypress Hill's demo tape. Its somewhat disputed what year its from but 1989, a year after their formation, seems to be the best guess. What a fantastic idea, this six track tape is a remarkable insight into where the group started and what evolution took place in the years leading to their debut self titled.

Its remarkable how much of Hill's trademark sound is present from the get go. The four tracks that would carry over to the album have their core samples all in place, the unique flavor is bold and obvious, the stylish identity firmly established. They all carry a little extra percussion and layering that got stripped back. Refining his beats, Muggs polished up the occasionally crowded jabs, stabs and redundant vinyl scratches in the end. These elements do have strong ties to the 80s Hip Hop sound and characteristics, with that these demos create a cultural bridge between the two eras.
 
The one track that didn't get carried on is Caliente. Its a stage for Sen Dog who raps entirely in Spanish. The beat is jive, the classic Amen Brother break loop on sharp repeat. The sparse sampling ushers in a calmer hypnotic flow for Sen's bilingual ability to sway in this listeners discern. Instrumentally it harbors much of the aforementioned 80s tropes, one can hear why it was ditched, there is however no doubt that Sen shines in the spotlight but its the only time we really get to here him go for it.

As the groups main MC, B-Real dominates the verses with much of his flows and style figured out. A large portion of the verses start with the same lines but quickly derail into less refined collections of rhymes loosely linked. Although my memorization of his lines immortalizes them, it genuinely feels like he puts the best at the front, later on fleshing the rest out with better ideas. On occasions his voice drops off the navel inflection and in a few lines he sounds much more regular.

The demo tape is a fascinating insight into a group who have mostly figured out their sound. In comparison to what else was around at the end of the eighties, the Hill must of sounded special landing on the desk of some record executive. Or possibly not? I don't know much of their origin story at this point but it would be fascinating to find out. Making records was a longer process back then, two years on paper can technically be thirteen months and with it known they recorded some of the record in 1990, they could of been snapped up after this demo! Its fun to speculate.
 
Rating: 6/10

Sunday 18 October 2020

Funkdoobiest "Which Doobie U B?" (1993)


With a recent dive into House Of Pain, I found myself poking around into the production history of DJ Lethal and DJ Muggs, leading me to this West Coast stoner trio with an uncanny resemblance to Cypress Hill, the epitome of treading in their footsteps. Obviously his hand on the instrumentals would lend itself, however lead rhymer Son Doobie, a name I've heard in rap verses before, brings a strong navel inflection and similar set of funky oriented rhymes to the likes of B-Real. Similarities and influences are fine, I was mostly excited to unearth a scene extension of the Hill's dynamic sound. Funkdoobiest have it nailed down, colorful Bomb Squad beats and lyrics constantly referencing the Mary Jane. It's been a fun nostalgia trip listening to Cypress Hill's cousin from round the way.

Although Muggs handles only a couple tracks, DJ Raplh M and T-Ray pick up the slack where Muggs laid down the foundation. Imitating his style, bombastic percussion, bold double-bass lines and stacks of samples making for a madhouse of funk and groove playing from front to back as if he did the whole project. Its complimentary, however a couple tracks are all to similar to Hill classics. Distinction wont come on the lyrical front either, Son Doobie's measured flow, stacking of quirky rhymes and delivery all have a similar cadence that fails distinction. His partner on the mic, Tomahawk Funk, is distinctly reminiscent of Main Source. Having absorbed so much Hip Hop over the years its hard for either them to stand apart.

Not to dwell on the parallels, Which Doobie U B? has a loose theme with recurring references to the doobie question. The topicality feels a shade hollow with braggadocio and stance affirming angles recycled track by track. A read of the track list alone gives you an idea of what to expect. This was never meant to be a serious record though. Its all about the fun rhyme schemes, stringing witty snaps and cultural references to much effect in its best tracks, Bow Wow Wow, Freak Mode and Wopbabalubop. At first its fun and exciting but as the verses become familiar a lot of bold boisterous rhymes fade in interest. Its of the time and somewhat dated but a really good listen as a fan of the era.

Rating: 5/10

Saturday 17 October 2020

Cypress Hill "Cypress Hill" (1991)

 

 As a precursor to another record I'll talk on tomorrow, it felt essential to lay a little groundwork with Cypress Hill's dynamite debut from 1991. Nothing quite like this sound had existed beforehand. The Hill blew minds with funky Latino vibrations and a bold advocation for the use of marijuana at the forefront of their music. Unlike a lot of other acts in Hip Hop, the trio would go on to have a decorated career beyond the debut with a string of creative and commercially successful albums, birthing songs known the world over like Rap or Rock Superstar and Insane In The Brain.

Firstly a disclaimer, this group were one of my first "favorites", who as a young teen I bonded with immensely... these beats and rhymes are practically baked into my brain. I can't tell you how many times I've spun this one. Giving it another go as I right, I am reminded of how well crafted these instrumentals are. Yet to lean on slamming percussion, DJ Muggs flavors his grooves with bold, funky samples. It has a little Bomb Squad flair for obnoxious noises and stabs among the guitars, horns and trumpets. It mostly has a keen psychedelic edge, resisting conventional melodies and arranging his loops to flow in succinct persuading repetitions.

I often forget how uplifting and warm the Hill once where. By album three, Temples Of Doom, they were deep in the darkness. Despite having devious classics like "How I Could Just Kill A Man" and "Hole In The Head", Muggs keeps spirits up with a spicy measure of groove and funk weighed up in a string of classic beats. However the lyrics are mixed in with rugged street talk and violence, swaying between more fun topicality. Variety comes with laid back grooves, busying instrumentals pushing the noise and a playful helping  of Latino flair. In the records end stretch, the guitar sample on Tres Equis illuminates brightly, doing all the work for Muggs as Sen Dog raps in Spanish. A niche touch to give the record more uniqueness.

B-Real is a phenomenal talent, all too overlooked as one of the greatests in my opinion. He establishes himself with a youthful flair but his rhymes are so concise, the flows mesmerizing and with that strong navel inflection, inspired by the Beastie Boys, he proves himself on round one. So many of his distinguished particular cadences and catered rhythms are established on this one. Flows and rhyme groupings that get recycled and referenced in later records are in abundance here at the inception. Lets not forget the hooks, this record is loaded with them. Hand On The Pump has one of the best with its lala lala conclusion and Sen delivering the hype between.

Every track as something to offer and a write up can't go by with out mentioning Stoned Is The Way Of The Walk. An absolute banging sleazy spaced out beat with B-Real rhyming through the percussive breakdowns without pause. Its timeless, despite having a distinctly "of the time" feel, everything stands up. With knowledge of whats to come, Real Estate seems a step ahead. It has the harder drum loop and focused attention on its main sample and pumped up baselines. That's another point, the music is laced with bold lines in the low end that glues much of it all together.

This record never lost its charms on me over the decades and right now it's pleasures are so vivid. That is when I enjoy writing the most. What's the point other than to feel the music as much as you can? I can barely think of a bad word to say on this record, its a brilliant debut statement. Stylistically stunning and sharp, flavored with a spice not heard before in Hip Hop. Barely a weak spot, although everyone will find their favorites among these sixteen cuts. A classic!

Rating: 10/10

Tuesday 15 September 2020

Xzibit "Full Circle" (2006)

 
It feels like its time to close the lid on this fun dive into the Xzibit's records. It seems notable that the West Coast rapper just doesn't have the production on his side. Similar to Weapons Of Mass Destruction, Full Circle feels defined by its unremarkable production. Mediocrity is tiring and X's rock steady flow and arsenal of rhymes doesn't carry the music far enough. Topically its not as sharp and socially oriented as before. The stance affirming braggadocio vibes don't really pop with these combinations of rhyme and beats. Flipping between quirky sampling and safe glossy beats the songs roll on in a drone without a hook or feature to carry it anywhere special at all.

Experimenting with a pitched down voice and slower flow X inhabits the mind of a corrupt cop to shift perspectives on Ram Part Division. Its a moment that stands out purely for being somewhat different in a sea of mediocrity. Although X dives into a few topics of importance through the runtime, they generally have little impact with both his word play and food for thought seeming dulled in the shadow of his former, sharper self. Struggling for words to further my thoughts, I'll end on the note that It feels so run of the mill, without thought direction or ambition to define what the record is as a whole. It has therefore become just a collection of not so interesting songs.

Rating: 3/10

Saturday 4 July 2020

Xzibit "Weapons Of Mass Destruction" (2004)


As an applause from a crowd dissipates, eerie synths glow in the backdrop as former president Bush's voice gives a chilling speech of his nefarious plans and ill intent. It grabbed my attention by the neck, a fine piece of work stitching his many hours of recorded voice together. Listening casually, it almost sounds legit, on closer inspection the details can be examined with a keen ear. I'm not sure I've heard a manipulation that good before! It certainly set the stage for Xzibit to kick off the record with firm fiery raps and a big stage beat on the album's second track L.A.X.

Unfortunately its a swift downhill trend from here. The production team bring this over assertive musicality to the project. Tracks are scarred by sung hooks deploying overt melodies and the instrumentals follow. A dense use of music theory that lacks the ear for what works. Even Xzibit gets in on these gaudy hooks by singing, which doesn't work. Its mostly jovial, upbeat and cheery. The vibe doesn't mix and there is a lot of repetition for an approach that wants to load in melody and layers. Its a better setting for something with a little Jazz Fusion yet this musicality is packaged into stiff loops.

X actually drops a fair amount of decent lyrics. At times he is tight, on point with a lot to say. Cold World sticks to the albums theme with a Middle Eastern perspective that is hard hitting. When not at his best, the loud droning beats tend to take over attention. Without his usual entourage the shift in tone and style fails to yield much that is memorable and produces more of whats mostly on the irritating side. The project is obnoxious, aiming for a more musical, tuneful Hip Hop record that could grab the Pop audience in the record sales charts. Its execution however is deaf to what makes that work. Its sub-par and at an hour in length its over bloated and hard to get through.

Favorite Tracks: State Of The Union, LAX, Cold World
Rating: 3/10

Sunday 28 June 2020

Xzibit "Man VS Machine" (2002)


Following up on the mixed bag that was Restless, Xzibit brings a surprising amount of coherence to his forth album. Man VS Machine has a similar tone and entourage with Dr. Dre, Snoop and Eminem returning among others, as well as new collaborates DJ Premier and M.O.P. Kicking off with a typical self affirming braggadocio track, the substance then starts with Release Date, a tale of being released from jail and building a mentality for the transition. Its a moment where his rhymes grab your attention and handle a narrative. It happens rather frequently on the albums journey.

Man VS Machine is not without its tarnish, some features feel routine, a few stale overproduced beats and a couple of trashy raunchy songs in the mix but this streak of substance in X's rhymes stand out. He is still firmly rough and tough on the mic, his delivery hard and concise with a firm flow, typical X but between his hard hitting lines, socially conscious leaning verses pack some weight, food for thought in the mix. Its far from profound but as the tracks play these moments frequently pop up.

Heart Of Man remixes Toto's Africa, which might sound like a recipe for disaster and although X is a little harsh for the mood, it somehow serves as a highlight on the record, a rather uplifting track with a solid message of taking life seriously and putting in hard work to who you are and your ambitions. He reflects on his journey and how others and fallen behind, the way of expressing his work ethic is refreshing. It stands out against the overall tone, a lot of spiffing clean virtual instrument beats with enough variety and experimentation to provide something for everyone.

My Name is a fantastic tune, Eminem lends his voice and production for another track that could slip into his own discography. Nate Dogg's voice in the chorus hook really pulls together the vibe of the era. The inclusion of Eddie Griffin on a skit, akin to one on 2001, once again really expands this sounds universe. I was so fond of in my youth, much fun to discover more of it. Going into this I wasn't expecting much giving the historical response but their is plenty here to dig. With a little trim removing some of the fluff tracks it would be one solid record!

Favorite Tracks: Release Date, Symphony In X Major, Heart Of Man, My Name, Missin U
Rating: 6/10

Thursday 18 June 2020

Xzibit "Restless" (2000)


Xzibit's third record, Restless, unites the West Coast rapper with legendary producer Dr. Dre who brings his Aftermath entourage. Eminem, Snoop Dogg, Mel-Man & Nate Dogg all participate in the product. Their worlds collide, what seemed an inevitability giving the influential tone of 40 Dayz & 40 Nightz. This record was like unearthing a lost memory, the beats, hooks and features had the temperament of an era I knew fondly growing up with Em and Dre dominating MTV day in and out. His hit single X is the one song I remember from its airplay on the music channel.

After many spins, my take away is mostly disappointment. I'm sure I'd love it if I heard it at the time but the music mostly feels second hand to the style of production. The tone and temperament, flows and hooks echo of 2001 and his aforementioned guests dominate attention with their styles of the era. Don't Approach Me with Eminem is a fantastic track but as the two exchange verses and Em sings the chorus its practically a Marshall Mathers b-side as the songs weight is clearly on one of their shoulders.

 A couple tracks sour with weak hooks or trashy lyrics. Snoop on D.N.A is just ridiculous, made me reflect on how mean and vicious his attitude was at this point in his career. Its not all bad. X brings on other legends like Erick Sermon and KRS-One who put together two fantastic tracks, the loose yet sharp, goofy beat Alkaholik and Kenny Parker Show an old school banger bringing back the classic echos on rhymes.

What about X himself? I felt like he had less to say overall. The immediacy and thirst lacking a little which seems to be a common thread in Hip Hop once success is reached. His rhymes are solid and flow aggressive and rugged but a lot of the lyrical topics were mainly self affirming and defensive of his ability on the mic. Its the most common theme but unless bringing the sharpest arrangement of words its wont stick.

One track, Sorry I'm Away So Much, stands out as a thoughtful song about being a father from his the perspective of X's lifestyle but its a lone track of reflection among a lot of typical hard headed rhyming. Restless is a curious record, a project with a lot of hands on deck, bringing many sounds together that tend to cloud its focus where quality is sparsely found between mediocrity.

Favorite Tracks: Alkaholik, Kenny Parker Show, Double Time, Don't Approach Me, Rimz & Tirez, Get Your Walk On
Rating: 5/10

Monday 1 June 2020

Xzibit "40 Dayz & 40 Nightz" (1998)


Ive seen this sophomore record of the famed West Coast rapper Xzibit often hailed as his best work. My adventure into these eighteen tracks has been both fun and insightful. It would seem there is a significant tone heard in mood and production style that would be a precursor to Dr. Dre's masterful 2001 and Eminem's generation defining Marshall Mathers LP. Released a year earlier there is a undeniable stylistic similarity. 3 Card Moly would slip easily into 2001without the blink of an eye!

The only apparent link is Mel-Man who handles production on Los Angeles Times, a stand out track with a crunking groove and sparse bassline for X to bounce his rhymes off. Sir Jinz, Xzibit himself and a few others put together the rest of the songs. Given their worlds would collide over the next few years, I'd never thought it was mister X to the Z with the apparent weight of influence on that era that helped define my youth.

Onto the album itself, X is far more pronounced and assertive than his previous effort. His aggressive energy is channeled into his flow well, making for explosive strings of rhymes that click with the beat. Nobody Sounds Like Me's opening verse a great example of stars aligning. Bringing on a helping of guests keeps the records pace interesting but its not all gold. A disappointing feature from Method Man on Pussy Pop pulls together a disposable track with a flimsy hook from the Wu-Tang legend.

Xzibit can't help but let a little of his humorous nature through. Ironic rhymes, amusing interludes and bizarre tracks like Shroomz crop up for relief in places. He also has a very serious side too, not shy of addressing topics often challenged in conscious Hip Hop music. His story telling is elevated too, Inside Job is a brilliant word by word ride of a high stakes incident playing out through his swift rhyming. Vivid song!

One of my favorite track has to be Let It Rain, bringing together again his liquid crew for everyone to run through with a series of solid verses. Its got such a fun groove and vibe to it and summarizes my overall experience, its a really fun record that doesn't get too deep into any of the variety it offers. The main surprise was the similarity with musical landmarks yet too come. Xzibit is a talent but even on his "classic" work I don't feel like we see the best of him.

Favorite Tracks: 3 Card Molly, What U See Is What U Get, Nobody Sound Like Me, Focus, Los Angeles Times, Inside Job, Let It Rain
Rating: 7/10

Wednesday 20 May 2020

Xzibit "At The Speed Of Life" (1996)


Seemingly always in the mood for 90s Hip Hop, It occurred to me Xzibit would be a great artist to dive into. I've always been fond of the famed MTV Pimp My Ride rapper, his features with Dr. Dre and Eminem were fantastic back in the day. At The Speed Of Life is the West Coast artists debut and one I actually got into a decade or so ago when really binging into the scene. The single hit Paparazzi holds up well over time but its not much of a surprise that the rest of the record doesn't have the same stick.

Xzibit has a very firm grip on the mic. Aggressive, coherent and articulate, he stands boldly. His vocal tone has a little flavor similar to the looseness of East Coast rappers Redman and Eric Sermon but he stays firmly on track with his rhymes. A steady flow with plenty of sensible word play he almost lacks a spark or flair of sorts. In the wake of weaker lyrics he can be unremarkable but for the most part the story telling and train of through is powerful enough to affirm himself with some serious credibility.

All these years later his more personal oriented rhymes really stuck in the mind but where the record falls short is production. Often gloomy and urban toned beats, swaying between some more rugged bouncy tracks, are all a tough thin and stiff. Somewhere in its composition a little oomph is missing. The ideas are great, the atmospheres forged make much sense but it can't help but feel sparse. The into and interludes also bloat the records pace with a lack of purpose or conception.

This debut record is a good platform to get moving as an artist, he shows his promise, puts together plenty of solid story telling as his explains his life journey to this point. The features are a little varied, he lets a handful of compadres on the mic and they often make for duller moments in the albums flow. Hurricane G on the other hand brings a lot of excitable energy that compliments X well. Its enjoyable, a fun handful of listens can be had but lacks a spark to make it memorable.

Favorite Tracks: At The Speed Of Life, Paparazzi, Carry The Weight
Rating: 5/10

Wednesday 2 January 2019

Ice Cube "Everythang's Corrupt" (2018)


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

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

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

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

Favorite Tracks: Chase Down The Bully, Ain't Got No Haters, That New Funkadelic, One For The Money, Everythangs Corrupt, Good Cop Bad Cop
Rating: 6/10

Thursday 13 December 2018

Paris "The Devil Made Me Do It" (1990)


Thanks to a fantastic documentary series on Netflix I got to learn about regional scenes that rarely make it to the forefront of Hip Hop discussion. Learning about the the bay area of San Fransisco, militant rapper Paris caught my ear with his uncanny resemblance to rap god Rakim. Given the year of its release, this makes perfect sense. Despite a lack of originality in tone and flow he makes his distinction with fiery, statement driven, political and pro-Islam rap. Its to the tune of Public Enemy and Lakim Shabazz, who's Pure Righteousness is sampled in the opening Scarface Groove song. The name dropping is relevant, Paris wears his influences on his sleeve as an amalgamation of key artists of this era. This extends to the production too, the beats present a firm flavor of Bomb Squad meets Eric B, with James Brown samples too. The sound essentially fits in a year behind contemporaries however this may be my prior knowledge not allowing Paris to slip into the correct spot in history. Then again, this is a really overlooked and forgotten record. Its only had a handful of re-pressings and is difficult to get a physical copy of.

Historical pickings aside, this is a strong record. He may have that firm and steady flow defined by Rakim but he executes it with attitude and flair for stringing coherent and tricky rhymes schemes others would stumble over. Its creative too, taking on a variety of flows and experimenting with reverb and rhymes split over multiple takes. It gives the record interesting creative tangents between the tried and tested formula. Lyrically its very socially conscious and pro-black political, taking on police brutality and systemic racism with an unapologetic militant approach. Short story telling interludes like Warning and The Hate That Hate Made flavor the songs with rich backstory as a couple of tracks step of the gas with braggadocio and other subject matter. Its the black nationalism that grabs the attention and if you agree with his perspectives or not, hes certainly a talent getting his view across.

A younger me would of lapped this up back in my 90s Hip Hop binge days. Now the style is so explored in my mind its hard for the beats to make much of an impact. One can't help but notice these gorgeous synth baselines though, the sort you might hear in Industrial music. That and DJ Mad Mike's love of scratching and sampling creates jarring instrumentals that pair beats and sources rigidly. The result aesthetic is it own and a clear vision for variety is forged as many cuts and variations make it onto the album, keeping its flow exciting alongside the shifting themes of Paris. The title track gets a shout for being a killer tune. A prime example of the records strengths in full cohesion. The beat is dark, gritty and bombastic, Its synth sampling takes on vibes not often heard in Hip Hop. This record isn't trying to charm you with smooth slick Jazz sounds, bar Mellow Madness, or overt grooves. It creates a crowded atmosphere built on punchy, snapy sounds that amount to sometinhg it can call its own, even if the building blocks are in plain sight.


Favorite Tracks: Scarface Groove, Brutal, On The Prowl, The Devil Made Me Do It, Mellow Madness
Rating: 7/10

Tuesday 27 November 2018

Vince Staples "FM!" (2018)


Ive been keenly awaiting the next Vince Staples project. As a rapper he is a fair talent but on the instrumental front he is rocking a fresh sound that draws in some strong House and Dance music influences to Hip Hop. This newest record FM! has some interludes and snippets of a radio show that gloss a theme on top of stellar songs. At a mere twenty two minutes most the tracks are short and given the repetitive nature of lopped instrumentals this swift record whizzes by. It always ends too soon, leaving you wanting another immediate spin as its infectious beats linger in the mind.

At the surface, the beats took most my attention. Vince puts engaging hooks over the top and his rhymes are tight, often delivered with a slightly slurred swagger. It gives his flows a liquidity as his sentences ooze and the words sway to form an shapely cadence. His inflections are slightly nasal and the nature of his flow lets his lyrics gel with these keen beats. When he exaggerates the words they often morph into memorable hooks. Relay's "scanner and hammer" as "skinner and himmer" just works despite being skewed. Its all chemistry but digging deeper into his words theirs a lot of vivid lyricism skimmed down to a point. At times it can be a dark ride along.

These instrumentals by Kenny Beats pop! Tight snaps, claps and snares bounce and groove off sub bass kicks doubling as low end melodies, shifting through multiple pitches. Between them textured hi hats rattle in fast shuffles, spaced generously on stereo. The space often occupied by samples are a treat of quirky, synthetic spaced out melodies, often minimal, taking advantage of minimalism and the textures available. Its got the grit of the streets, yet can drift to the estranged and exotic. Of course these moods find their way to banging hooks too as Vince cries out to each of the sides "who bout that life" as the calls drift to death and darkness swiftly.

I adore this project. Its all about quality over quantity however its glossed over radio theme feels a distance to the meat of Vince's lyrics. Its interlude tracks are inconsequential and mediocre at best. They fluff up an extra couple of minutes and the Earl Sweatshirt hype track is an underwhelming twenty seconds. With Kanye, Pusha T and quite a few other artists releasing short projects this year it seems like a positive trend. I'm really glad Vince took this approach and the final track is a peach with Kehlani Parrish bringing powerful effeminate singing to the fold. Great record!

Favorite Tracks: Relay, Run The Bands, No Bleedin, Tweakin
Rating: 7/10

Monday 15 October 2018

Cypress Hill "III: Temples Of Boom" (1995)


It feels surreal to think that twenty three years have passed since Cypress Hill put together their third and iconic Temples Of Boom. With each record they continued to recreate themselves and this time the trio went down a dark avenue. The music videos went the same way too, resulting in MTV and radio refusing to play them. That didn't stop the record going gold and eventually platinum off their reputation alone. This was the first record I became obsessed with and if your familiar with my taste in music it should be no suprise as to why.

1995 marks a peak in the Mafioso Rap movement and despite the dark and violent, gang related themes, Cypress sidestep that particular narrative. It was when Hip Hop was transitioning away from bombastic sampling styles and production was growing towards sequenced beats and slick synthesized instrumentation. With retroactive ears Muggs's production gets a whole new level of appreciation. These beats hold up so well, Muggerud brings together the tightest kicks and snares samples, arranges them with a hard hitting, slick bombastic groove that resonates of dark vibes.

Track after track is hypnotically dark. Deep rumbling baselines glue the power and jive of the drums with their evil and menacing sampled counterparts. Muggs approach usually consists of ambiguous airy ambiences eerily lurking between the obvious instruments. With attentive ears much variety in that region, most notably cold icy pianos return frequently, playing upfront melodies but sometimes lingering in the distance. The mystic cultural vibe makes its mark here with the inclusion of the Indian sitar to bring about esoteric vibes between the beats. It builds up the unique feel of the record as well as the mythic terminology referencing the albums title and tracks like Stoned Raiders.

I will always put B Real in my top five, he is a phenomenal MC and criminally overlooked in the discussion of Hip Hops greatest. Every line on this record is fire, no filler. His nasal tone adds a sharp spice to his flow, giving his microphone persona a streak of attitude that requires no boasting. Its in the air tight delivery and variety of flows that keeps the goods rolling in from one song to the next. His ability to slip into half-sung hooks and killer refrains is timeless. His flows stealthily change pace and on tracks like Locotes they find a groove of their comparable to the beat itself. With Sen Dog chiming in and double tracking the best rhymes. His voice and lyrics hold up all these years later, still vicious and vigorous.

I'm not sure how many verses Sen gets on this record but as always his presences is illuminating, a great compliment to B Real. His roll as a backup man is never overplayed and easily underappreciated in the Cypress formula. No Rest For The Wicked has the group fire back at Ice Cube for stealing their hook and B Real is just an absolute monster with every line, from start to end. Its a savage diss track, almost on par with No Vaseline which he references with the line "No Vaseline, just a rope and a chair and gasoline". Brutal. Wu-Tang Clan's RZA and U-God turn up for some verses on one of the records dingy, dirtiest beats. A fitting match.

The record isn't all dark and shadowy, the lyrically ironic Boom Biddy Bye Bye lifts the mood with a memorizing piano melody looping over a warm, inviting baseline. The classic Illusions may sound a little nicer but its lonely atmosphere and paranoid lyrics quickly dispel the easy listening. A few beats do lean to a brighter degree but lets face it, its a darkened record. Strictly Hip Hop rests as a fairer beat setting a firm tone for the Hill to send out a clear message on the commercializing of the music. The lyrics read like biblical verses as B Real preaches some of the hardest truths on the business consuming the art form. Its my favorite song on the record and all these years later it truths hold up and Cypress Hill have proudly stuck by their integrity. A truly classic record, one of my first tens and perfection for my taste.

Favorite Tracks: Spark Another Owl, Throw Your Set In The Air, Stoned Raiders, Boom Biddy Bye Bye, No Rest For The Wicked, Killafornia, Locotes, Red Light Visions, Strictly Hip Hop, Everybody Must Get Stoned
Rating: 10/10

Sunday 7 October 2018

Cypress Hill "Elephants On Acid" (2018)


I've been eagerly awaiting this record. The legendary Latin American Hip Hop group Cypress Hill have returned with their ninth album after an eight year absence. They were my first "favorite" group, as a young teen I became rather indulged and obsessed with their music. Binge listening and making copies of their records borrowed from the local library, I quickly came to know all their music very well and hold them in the highest regard. To this day I frequently return to their best records, Temples Of Boom being my favorite as the dark, spooky, mysterious Gangster Rap record with killer lyricism and timeless hooks. Going into this new record I had little in the way of expectations. It has been some time and anything can happen.

Elephants On Acid is a reasonable effort that does a fantastic job of establishing a distinct vibe and maintaining it. Cypress always had an exotic twist about them, using Latin lingo and inflections in the vocal department. At times their choice in sampling naturally leaned to Southern American and Eastern cultures, a niche characteristic. This record homes in on the latter with its sleepy esoteric atmospheres born of slower drum grooves, deep muddy baselines and the sprinkling of Eastern instruments to affirm an air of mysticism. In its second half the instrumentals start to brood in darker places. Locos, Insane OG, Warlord and Blood On My Hands Again unapologetically explore the creepier avenues of a dangerous vindictive world.

It is B Real who gives this record its merit. After eight years off the wax I had feared he may of aged but much like his live performances, he seems youthful and fully capable with a tight grip on the mic and his craft. Hes rocking the same nasal style, delivering lean raps with a weight of rhyme and wit that reminds me again how criminally over looked he is in the Hip Hop community. We may not hear his best here but he capably drops in plenty of steady flows, smart rhymes and one cracking line referencing Silence Of The Lambs. At his side Sen Dog seems unfortunately absent for many of the tracks, he is one to elevates the music with his unique chiming in. Even with a just small and simple roll he seems missed.

As discussed this record achieves a vision but unfortunately its a rather tame one even if distinct. The pacing is sluggish. Half baked instrumentals serve as brief interludes making up a quarter of the tracks. The main beats themselves are often indulged, brooding on atmosphere and the drum grooves rarely land with much intensity. Its obvious Cypress were going for this tone but the records best song, by no stretch of imagination, is Locos. The beat lands, its banging, the atmosphere serves it well and B Real is backed up by a mean sounding Sen Dog who throws in his aggressive call outs that land like threats. It the traditional formula and it works better.

It doesn't feel like there is much more to be said beyond going into specifics. Deep into the record hides Crazy, a song clearly trying to recapture the Insane In The Brain spark. To be fair its a fun track but once again the drum break just doesn't land with any intensity or groove. As much as Ive enjoyed these songs I really don't see myself coming back to the project to often. I commend Cypress for attempting to do something outside the scope of what you expect from a Hip Hop record. Its certainly nice to hear consistency and vision but if it doesn't bang its got to get something else right and I'm not sure what that's supposed to be on Elephants On Acid.

Favorite Track: Locos
Rating: 5/10

Thursday 3 May 2018

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

Friday 22 September 2017

Souls Of Mischief "93 Til Infinity" (1993)


Five or so years ago I would of adored an album like this. Its clearly got those classic 90s Hip Hop vibes, soulful and jazzy with funky fresh flows. Back then I just couldn't get enough of the scene, Ive listened to so much of it now I'm actually surprised this one managed to get past me. The Souls Of Mischief are four MC's from the West Coast who are part of the Hieroglyphics collective led by Del The Funky Homosapien, who unsurprisingly produces a couple of tracks and features a verse on another track. Despite being from the West Coast, Souls don't rock the G-Funk vibes, in fact their sound more so resembles the East Coast but their streak of uniqueness is both in the technical yet inspired raps and the instrumentals which combine elements of the smoother Jazz Hop with the hype and energy of Boom Bap.

93 Til Infinity is their debut and said to be the groups best, such a common occurrence in Hip Hop. With an abundance of youthful energy and desire to make themselves heard, Souls put together a rich journey of impressions told through the lens of their lively, rugged rhyme styles which stand apart from the crowd. With a majority of smooth sounds drawing samples from Jazz and Funk, the MCs bring contrasting flows that duck and weave with the lyrical dexterity for trading blows between intricate mid sentence rhyme play, flow chopping and train of thought consciousness raps. Its all impressive and at times the flows can get quite technical but one of the group, Opio, has a nasal tone and on a couple of songs the fidelity of the mics used gives it a thin and rasp sound, a slight gripe I have but the point should be the contrast. All four have tones and flows that stick out from the often smooth backing which is its charm, on occasions it can dip a touch to far.

There's no doubt you'll find plenty of favorite lines scattered across the fourteen tracks. At fifty five minutes it does draw on but the group have a lot more to say than the average record. Apart from one or two boisterous tracks and flows it seems as if there is always a point to be made, an observation to be told and it comes through plenty of tricksy flows to show off the groups creativity. The production is somewhat varied to my ears, there's quite a clutter of sampling at work and through the layers a strong vibe emerges however there are a handful of songs where the clutter is a bit much the song gets muddy and some of the samples rub up against each other. The drums however are always sturdy, providing a solid bombastic groove for the flows to align with.

I didn't get deep into this record but a few years back this would of been my addiction. The vibes are on point and the lyrics are continually charming with creativity and originality and I think you could really get into some of the more technical flows that demonstrate multi syllable rhyming ans all sorts of techniques to sink your teeth into as a listener. Its been a fun listening experience, I can totally dig why people say 93 Til Infinity is a classic!

Favorite Tracks: Live And Let Live, A Name I Call Myself, Anything Can Happen
Rating: 7/10

Monday 17 July 2017

Vince Staples "Big Fish Theory" (2017)


It was only a while back that I was introduced to the young Compton rapper. Summertime '06 won me over so another album springing up so quickly Is a pleasant surprise. Big Fish takes of where Summertime left, working with the same producer Vince retains the distinct production style behind his rhymes, sub baselines crunch under tight shuffling hi hats and steady, cautious snare kick grooves. Where Summertime had a smoother tone with fragrant samples and a more "traditional" Hip Hop vibe, Big Fish takes a turn to new territory with strong influences from House and Electronic music that has much of the instrumentation used performed by an array of synthesized sounds.

 The album kicks off with "Crabs In The Bucket", if you removed Vince's voice from the track it would unrecognizable as a Hip Hop track, Its sweeping wind synths lead us into a smooth Dance groove with Kilo Kish laying down soft, echoing vocals over a climatic jiving baseline groove reminiscent of G-Funk. This tone follows through the record, many tracks would fall into another category if it wasn't for Vince's rhymes and that's the albums brilliance, Its abridged styles and created something of its own, a unique fusion that seems just right for this artist. The records tone has a rather cold and spacious quality, many of these crunking baselines and tight shuffling beats intersect with abstract electronic noises without an upfront melody. In response the baseline rhythms become a focal point of direction and Vince's often flat, leveled delivery reinforces the chilling tone. It works especially well when his lyrics go into darker regions.

With a handful of banging baselines and catchy hooks the album sets off fires in one instances and puts them out with its quirkier tracks that don't quite vibe the same. Not to say they are bad tracks but there is a note able difference despite a rather consistent tone. I like Big Fish Theory for its unique crossover between style two genres and much is to be merited for that success but it doesn't mean all the songs are automatically destined for greatness. With new territory comes new challenges and through the thirty six minutes I felt as if there was an imbalance between the quirky, rhythmically arranged synths and an opportunity for more dance laden melody and atmosphere, however that's just a matter of taste and unfortunately what started out as a really interesting album started to fade somewhat by the tenth listen or so as the overall picture of the record came into view. The songs just don't quite hold up and an overall direction is lacking, most notable on Alyssa that comes in with a long vocal snippet that has seemingly nothing to do with the rest of the record. The great ideas are scattered in here but they don't find their way to cohesion.

Favorite Tracks: Crabs In The Bucket, Love Can Be, 745, Bagbak, Rain Come Down
Rating: 6/10

Tuesday 23 August 2016

Snoop Dogg "Coolaid" (2016)


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

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

Favorite Tracks: Oh Na Na, Two Or More, Kush Ups
Rating: 4/10