Relax & Take Notes

1nce again Rhymesayers Entertainment show why they have one leg up on other labels when it comes to album packaging. Peep the vinyl packaging for Freeway & Jake One's The Stimulus Package; it features a money green double vinyl, four Freeway Bills, four Jake One Bills, with lyrics and liner notes on the backsides, a Gate Fold Sleeve, plus a download card with the Instrumentals and MP3s.Other labels relax and take notes ;The Stimulus Package will be in stores on 02/16/2010.

Large Professor- The LP

Outside of Jeanius and Kaamal The Abstract I don’t think there have been any other albums that have been given the bizness, the bootleg treatment like Large Pro’s The LP. On Tribe’s revered classic album, Midnight Marauders, Large Professor spit, Queens represent buy the album when I drop it; I am positive he [Xtra P] didn’t have sixteen years in mind when he said when. Nevertheless, the delay was clearly attributed to label politics and not the man who is largely known for inviting Nas to that legendary barbeque. To his credit, apart from the endless list of production credits, as well as rap features, Large Pro has released two albums not including the instrumental albums since that now infamous line namely 1st Class and Main Source. A decade and then some years later and this LP is still bouncy fresh, as it should be the norm for a good hip-hop album. While it was not the Mad Scientist’s intent to have its initial release lag, he ultimately made an album that stood the vices of time- it still bumps in ‘09. Evident in this release is Xtra P’s adherence to having fun on his records, in so many words he don’t wanna ill he juswanna chill and keep his hand around a hundred dollar bill- who doesn’t? Large Pro’s hooks sometimes take a nonsensical but always direct approach and every so often end up being damn near laughable case in point, cos I’m hungry, boy am I hungry. Holding his own on the mic, Xtra P (producer first) more than compensates for minor inadequacies (he just doesn’t make you hit rewind solely for his rhymes) on the mic with his production on all but two tracks; Large Pro:Verbs and Spacey, produced by Vandamator and Toney Rome respectively. One Plus One, is indicative of why Nas and Large Pro need to collaborate more often, “Hey Nas here’s an idea how about another double LP to compensate for Street’s Disciple and for not sticking to your gunz on you last LP. You should get Preemo to handle all the production on Disc I and Large Pro on Disc II. I mean Street’s Disciple, that shit was aight but it wasn’t no Ready To Die or All Eyez On Me and the Untitled album damn shon SMH a lot of songs on the Nigger Tape were more suitable than say either Make The World Go Round or Hero, I am jusayin’”All in all, not only does The LP prove that hip-hop can still be fun without sounding like or being representative of a coon, but it is also exemplar of an excellent not classic album; I mean it was set for release years ago and it still has a lot of playback appeal today (I found myself listening over and over again). Which begs to question: what if Large Professor’s The LP was in fact released as originally planned? The Large Professor's The LP is in stores now!

TURN OFF THE RADIO! (I really had a hard time picking what tracks to share[4 good reasons])
The Large Professor - I Juswanna Chill
The Large Professor - Mad Scientist
The Large Professor - Hard
The Large Professor feat. Nas - One Plus One

Welcome To Bucktown Review

I walk around town with my pound strapped down to my side- the less than picturesque, but sincere haunting opener that Steele would recite over Da Beatminerz produced instrumental, Bucktown synonymous for Brooklyn, Home of The Original Gun Clappers. It would seem like General Steele has musically come full circle. As one-half of Smif-N-Wessun, his first single was Bucktown, and coincidently Welcome To Bucktown marks the inaugural release on Steele’s newly established label (To no one’s surprise), Bucktown USA Entertainment.
General Steele’s Welcome To Bucktown is partly inspired by the blaxploitation flick Bucktown. It [Bucktown] details a story of police corruption, racism and loyalty and starred blaxploitation staples, Fred Williamson alongside Pam Grier and Thalmus Rasulala. More often than naught, when inspiration is brought up in terms of album making the notion of conceptualization comes into play. That said this is not a traditional concept album in the same vein as say Prince Paul’s A Prince Among Thieves, but it is still a concept album nonetheless. Despite an imperceptible storyline, Steele along with his enlisted comrades (the project features a bevy of rappers) are able to communicate the aforementioned topics through their verses; assumedly the project’s cohorts are relaying present-day conditions and their experiences as they coincide with Bucktown’s own plot. Ultimately painting a picture that is far removed from the gentrified locale that is Brooklyn; rather it is the backblocks and alleys as seen by this collective. Accordingly it is clear that if you are built like Buffie the body-all ass, you better haul ass (unless of course you happen to be a curvaceous female). By intertwining movie sound bites on certain tracks, General Steele is able to recreate the feel of the movie, be as it may be circa 2009. Take for example; the Ayatollah produced Made Me Do It, which features 5ft of Black Moon alongside Steele spitting about the devils in blue. At the commence of the track there’s a short skit that weaves dialogue from Bucktown with Steele’s words to reconstruct a traffic stop before both rappers let off their verbal shots. Similarly, the Bucktown assisted festive A Toast to Brooklyn, opens up with dialogue from Bucktown, in which Fred Williamson’s character celebrates with friends. Production from the album features handiwork from Da Beatminerz, Ayatollah, Sic Beats amongst others; all who supply General Steele and the stable of Brooklyn’s finest with soundscapes that vividly reflect a sense of the highs and lows of this esteemed borough.
All in all Welcome To Bucktown, has nothing to do with the blaxploitation flick, Bucktown in as much it does. Apart from the glaring album’s artwork which is suggestive of the original cover art, General Steele attempts to pay tribute to a blaxploitation classic by paralleling certain themes which conveniently still exist in present day Bucktown. Clearly all the participating artists live and breathe Brooklyn which comes across on this fourteen-track project. If you are fan of Duck Down Entaprizez as I am, then this album should be a welcomed listen, because it still contains the brash and reckless lyricism that Smif-N-Wessun is famous for.


*Side Bar: I couldn’t help but imagine Uncle Murda on Hometown. I don’t even like Murda but think he would fit nicely on the track.

TURN OFF THE RADIO!

Buckshot, General Steele and Jo Chris- A Toast To Brooklyn
Smif-N-Wessun and Stormey- Bucktown Baby


FOR OLD TIMES' SAKE...

Big Shug: The Meaning of Hardcore

Boston's Murdapan native, Big Shug, is an industry veteran in every sense of the word. As one of the core members of the Gang Starr Foundation, not only did he travel the world with one of the most recognized teams within the hip hop landscape, he also made numerous notable appearances on Gang Starr works ranging from Hard To Earn to The Ownerz. With two street certified LPs under his belt, Big Shug released Otherside of the Game this past Election Day. Like his previous endeavors he enlists long time collaborators DJ Premier and Moss, amongst a slew of other producers, who together help provide the Street Champ with a musical milieu that help project his aggressive battle raps.

Anyone familiar with the street savvy Big Shug should not expect any surprises with his latest effort. To put it simply, he sticks to the script- abiding by a simple formula which combines first-rate production with gritty, authentic lyrics. Technically this should be a recipe for success; however, this aggressive and exceedingly dedicated rapper is somewhat one dimensional with his lyrical crop. Suffice to say, the production in many cases surpasses the lyricism on several tracks. Nevertheless, what Big Shug lacks in lyricism he succinctly makes up with unequivocal conviction and passion. Furthermore, on several tracks, featured artists like Singapore Kane and Termanology tend to outshine him. All the same, it would seem that this inconvenient truth hardly matters, when in fact these very rappers view Shug as the vanguard of Boston rap.

Otherside of the Game opens up with two primo laced cuts, Soundcheck and When I Strike; sadly both tracks could have been better suited for other rappers. Despite the simplicity of the rhythmic patterns in the aforesaid tracks, which in theory would allow Shug to excel; his elementary yet undeviating verses don't match Primo's patented beats. Like A Muthafucka, another DJ Premier product, is a complete waste of a beat that finds Shug rambling about nothing.

Standout cuts on this album include Primo's My Boston which finds Termanology, Singapore Kane and Big Shug paying homage to Beantown, enveloped between the bass and keys patterns that could only be contrived by Premier. Despite being outshined by Term, Shug's verse is one of his better deliveries on the album. It appears as though that Shug is better served when he spits details about his hometown, as witnessed in the Moss produced Murdapan, a tribute if you will, to Boston's Mattapan. Militant Soldiers II is another cut that finds Shug in his best form, spitting alongside Blaq Poet and Singapore Kane over Moss's timberland and army fatigue muzik. Other worthy listens include the Frank Wainwright and Billy Danze assisted What It Means and Meaning of Hardcore.

The truth is Big Shug was never ahead of the Gang Starr Foundation class with regards to lyrical dexterity. However, one cannot deny his believable passion and his disposition to being forthright, "... I got a magazine baby and a sock rag." Sadly this album plays more like a showcase for the producers with creditable remnants of Shug sprinkled in here and there. Nevertheless, this album is still worth the listen especially for fans of this Gang Starr affiliate who more or less know what to expect from Shug.

TURN OFF THE RADIO!

Big Shug feat. Termanology & Singapore Kane - My Boston

Big Shug feat. Billy Danze & Frankie Wainwright

Big Shug feat. Blaq Poet & Singapore Kane- Militant Soldiers II

BONUS

Big Shug feat. Royce da 5'9'', Termanology, Singapore Kane

The Set Up Review

Curtis Cross, better known as Black Milk, is the rap version of Samuel L. Jackson. This year alone Milk; noticeably no longer Murder Mitten’s best kept secret, has lent his rhyming and production talents to various projects including the Caltroit compilation, Guilty’s Ode to the Ghetto, Torae’s Daily Conversation and most recently The Set Up. This latest effort pairs him with fellow Detroit native, Fat Ray (Both artists alongside Young RJ, are BR Gunna).

While Jackson has had his share of movie disappointments, this album is Black Milk’s Deep Blue Sea or his Formula 51 if you will. With that said, this album is not a complete letdown- it merely pales in comparison when measured against Black’s previous projects. There’s no denial that both rappers complement each other throughout this 11-track album. Evident throughout the album, is Black’s ingenuity to create beautiful music albeit the soulfulness heard on former tracks like say, One Song, or Three + Sum (Although AB does sprinkle a pinch of soul on Take Control). This time around, listeners are presented with gritty, gutter-like sounds highlighted by the pensive drum patterns that make Black a beast behind the boards. While some listeners might not be appreciative of this deviation, it clearly displays his versatility and ability to reinvent his sounds of music. Lookout contains either a Middle Eastern or Southern Asian sample a la Madlib’s Beat Konductor series, and features Name Tag, Black’s cousin. While Bad Man features Guilty Simpson and Scorpion, who laces a Reggae inspired hook. Ronnie Cash aka Phat Kat and Elzhi of Slum Village acclaim also lend their talents to Get Focus.

From the beginning through the lead track, Flawless, listeners instantly take in the chemistry that both Black Milk and Fat Ray exhibit throughout the albums entirety. In a manner reminiscent of the swag flaunted on Sound the Alarm, Black spits, Strait gutter I mean everything I utter/ speaking the language no I ain’t stutter. While Fat Ray assertively comes back with, You keep the bitches bitchin’, I got the hoes hoin’/ I’m on slow motion keep the dru blowin’/ High times nigga keep the dro growin’/Inspect gadget gun go goin’. Despite his convincing depictions of street life amplified by his powerful raspy delivery, the nature of his subject matter is somewhat limited and superfluous. Even so, it is almost as though Fat Ray was intrinsically abiding by the album’s very title; he sets us up for what seems to be a grand finale on the last track, Ugly. Fat Ray’s delivery over Black’s impeccable production in the aforesaid track is worth mentioning.

Assuming this album serves as a platform that introduces Fat Ray to the hip hop world outside of Detroit; his efforts are nothing short of ordinary. As a matter of fact, the rappers on this album churn out rather meaningless, mediocre rhymes, making them appear as though they are just the run of the mill; while their catalogues would prove otherwise.

The Set Up marks the first of many releases to come from Black’s label, Music House. While this album has its flaws; most notably the lyrics or lack thereof, it is still considerably better than most albums out there and that’s saying a lot. Black’s willingness to veer left when all signs point right suggest that this young producer is destined to carve his mark in the rap game.

TURN OFF THE RADIO !

Fat Ray & Black Milk feat. Guilty Simpson & Scorpion- Bad Man

Fat Ray & Black Milk feat. AB- Take Control

Fat Ray & Black Milk feat. Phat Kat & Elzhi- Get Focus

Fat Ray & Black Milk- Ugly