Time Is Illmatic

Norman Rogers is better known to everyone in the world, other than his mother, as Terminator X, the deejay from the legendary hip-hop collective Public Enemy, during their most prominent years (87′ to 99′). My remembrance of Terminator X during PE’s golden years is him as a light skin version of Kool Moe Dee, minus the Kangol with a high top fade, and I swear the dude never spoke a word for at least a 5 year period, if not longer.

The PE reign was so prevalent during this period that all of its members and associated acts such as Professor Griff and Sister Souljah, were able to parle the group’s success into solo projects. Naturally, Terminator X also took advantage of this exposure, landing a solo deal with vanity Columbia label P.R.O. Divisional/RAL, and releasing Terminator X & the Valley of the Jeep Beets in 1991.

Its been a long while since I’ve listen to this album in its entirety, and I don’t remember a lot about the album. There is probably a just reason for that.

Random Factoid: Terminator X broke both his legs in a motorcycle accident in 1994.

Vendetta…The Big Getback – Intro to The Valley of the Jeep Beets .

Buck Whylin’ – Rightfully so, Chuck D is the first emcee to bless the mic on The Valley of the Jeep Beets , with an assist from Sister Souljah, preaching her conscious sermons during the hook. This was cool. Not live changing or terrible, but cool.

Homey Don’t Play Dat – This was the first single released from the album. TX’s funky James Brown loop makes for one sick instrumental to vibe to, way back then and now.   Female emcees Bonnie ‘N’ Clyde do a serviceable job on the mic, but TX’s instrumental is the true star of this one.

Juvenile Delinquintz – After a brief interlude informing the listener that “there is no escape from the Valley of the Jeep Beets” and some dude giving a nonsensical equation, the next line you hear is from one of the Juvenile Delinquintz saying “Uncle Sam, the mascot of America”. From there on they spend the rest of the song discussing the mis-education and the bs black youth have to put up with to get a diploma.  I had to chuckle when the teacher ask the class “does anyone have a question?, to which one of the JD’s replies “yeah, who gives a fuck?”. It was also pretty funny to hear one of the guys claim that the food served in the school cafeteria is not even adequate for a dog’s diet, so he chooses to eat lunch at McDonald’s as if that’s a healthier alternative. Even with their awareness of the flaws in the school system, these young men still know the value of an education in America, as they end this one with “yeah, we say fuck school, but we still get through”.  TX’s instrumental was pretty nice as well. Well done.

The Blues – Over a nice TX instrumental, Andreas 13 (yeah, I never heard of him either) spends the length of this one singing rapping the blues. Like most blues songs the root of his woes fall around money and women. Andreas’ verses were competent but the chick singing during the hook (and sometimes during the verses) was so annoying I wanted to shake the shit out of her.

Back To The Scene of the Bass – The first emcee from the Interrogators starts this one off tracing the bass, musical speaking, back to the scene of the crime (whatever that means).  Then the rapper covering the second verse completely flips the script and repaints his struggle with actually smoking base. Yes, this nigga was a crackhead. Props for his transparency, but the song was still below average.

Can’t Take My Style – A short interlude with Terminator X cuttin’ on the ones and two’s.

Wanna Be Dancin’ – Celo (not to be confused with the one from the Goodie Mob) of the The Casino Brothers (yeah, I never heard of them either) gets a chance on this solo attempt at a dance track, but fails miserably. The uncredited female vocalist sounds like the same annoying culprit from “The Blues”, and she doesn’t fare any better on this song. This was indeed a hot mess.

DJ Is The Selector – I didn’t care much for this one.

Run That Go-Power Thang – TX decides to take a brief break from the boom-bap and gives a band called Spacey B Experience a shot. They kind of reminded me of the Brand New Heavies minus N’dea Davenport.  This sounds like a throw back to the seventies, like something that would have fit on a Foxy Brown (the Pam Grier character, not the deaf rapper) soundtrack, which isn’t a bad thing.

No Further – Wtf? Compared to the rest of the songs on The Valley of the Jeep Beets this felt a little out of place. And it didn’t help that the vocalists, Section 8 sounded terrible.

High Priest Of Turbulence – A short TX instrumental medley.

Ain’t Got Nuttin’ – Some guy named Chief Groovy Loo comes out in battle mode, swinging for the fences on this one. Unfortunately, he only manages to foul off a couple of pitches before popping out behind home plate. The short TX instrumental at the end was pretty nice, it would have been nice to hear it used in an actual song.

Terminator X & The Valley of the Jeep Beets has a few bright moments (i.e. “Homey Don’t Play Dat” and “Juvenile Delinquintz, which TX knew were the strongest songs on the album since they were both released as singles) but overall the results are underwhelming. Considering the roster (with the exception of Chuck D) is full of a bunch of no name starving artist, this should come as no surprise. Regardless of the amateur artists, TX is still responsible for the lackluster production. I’ve never heard his follow-up compilation Super Bad, and after this experience I don’t know if I want to.

-Deedub

For those keeping score at home, this one should go right after Straight Out The Jungle, kicking off 1989.

Remember Young MC? Or better question, remember the crossover rap hit “Bust A Move”?  This one song defined his rap career so much his grave marker should read “He Busted A Move”. Ironically, he is also responsible for two other monster crossover rap hits from the eighties. Young MC also penned “Wild Thing” as well as “Funky Cold Medina” performed by today’s subject Terrell Smith, better known to the world as Tone-Loc.

Tone-Loc grew up in the mean street of L.A. where he was involved with gangs and other mischievousness.  One day he realized the path he was on wouldn’t have a happy ending, so he decided to focus his energy on something positive and decided to pursue a career in hip-hop. He linked up with Mike Ross and Matt Dike, founders of an up and coming label Delicious Vinyl where he would release his debut album Loc-Ed After Dark. On the strength of “Wild Thing” and “Funky Cold Medina” Loc-Ed After Dark was a huge success  as it moved well over 2 million units and provided two mash hits that over 20 years later still get played regularly at bars, bowling alleys, and radio and club’s old school hours.

I ran across this one in the 99 cent bin at a local used record store and thought I’d give it a listen, to see if our Loced friend had more in his arsenal than just the monster hits that he didn’t even write.

Random Factoid: Tone-Loc guest starred in an episode of Living Single where he played Kyle’s old high school bully, Lester Tate (Season 4, Epsiode 8: School’s Out Forever).

On Fire (Remix) – It’s kind of weird to start an album out with a remix, but that’s just what Anthony decides to do on Loc-Ed After Dark. The Dust Brothers (responsible for the production on The Beastie’s Paul’s Boutique) get a co-production credit, and turn in a decent instrumental for this remix.  This was decent start to the show, but it left me curious on what the original mix sounds like.

Wild Thing – I don’t think there’s a set of ears in America (and possibly the world over) that doesn’t recognize this song the moment the guitar licks kick in at the beginning of this ode to America’s favorite pastime: baseball.  This song has been way over exposed since it’s release, so you probably hate this song by now, and I can completely understand where you’re coming from. I still think it bangs. Sick bass line, hard guitar licks, and Tone’s smooth gravelly voice are all in sync on this banger.

Loc-ed After Dark – Over a subdued instrumental Tone drops his best battle lines on this title track. His rhymes aren’t terrible, but they don’t stray far from mediocre. Battle rapper, he is not.

I Got It Goin’ On – This Matt Dike produced instrumental borrows from the classic “Jamaica Funk” record. Unfortunately, all the funk in Jamaica couldn’t save this song.

Cutting Rhythms – The Dust Brother’s instrumental samples the classic Barry White record “I’m Gonna Love You Just a Little More Baby” (which has been used on several other hip-hop songs over the years). I loved the cutting during the hook after the first verse. I’m kind of curious on why they edited all of Tone’s curses before this song but allowed him to drop an f-bomb on this one. This was okay, I guess.

Funky Cold Medina – If it aint broke don’t fix it: This was Loc’s second mammoth single from Loc-Ed After Dark, which uses the same formula used on “Wild Thing”: bangin’ bass line, rock guitars, and playful lyrics. This one is not an ode to baseball, but instead an ode to the drink that will make the ladies want to play baseball with you. I’m pretty sure this is Darren Sharper’s favorite rap song of all time. The Matt Dike/Mike Ross instrumental doesn’t quite bang like “Wild Thing”, but it’s still decent.

Next Episode – This Dust Brothers instrumental was pretty underwhelming and this song made me want to move on to the next episode as soon as possible.

Cheeba Cheeba – I think you all are smart enough to figure out what this song is about. Tone does a decent job over this laid back funky Dike & Ross/Dust Brother collaboration. I chuckled a bit when Tone replays his buddy getting the munchies after a smoke session. It was pretty ironic to hear him shout out who he refers to as “the king of late night” David Letterman, since this song is 25 years old and he just recently announced his plans to retire, long after Anthony’s 15 minutes begin and ended.

Don’t Get Close – This Dust Brother’s instrumental sounds darker than anything else on Loc-Ed After Dark. Tone uses this dark instrumental to send out a warning to all competitor’s to keep their distance. You won’t remember any of Tone’s rhymes but this instrumental will stick to your bones.

Loc’in On The Shaw – A Matt Dike instrumental that I believe is dedicated to the hood famous Crenshaw strip in Los Angeles.

The Homies – At first seeing the title I assumed this would be a posse cut for Tone and his boys (who never thought about rapping before Tone got a deal, but suddenly got the rapping bug once he got signed) to spit over.  Instead it Anthony displaying his love and appreciation for the homies. The results were lackluster, but his heart was in the right place.

Loc-Ed After Dark works well when Tone recites his laidback-playful-rhymes around lighthearted subject matter. The problem is these songs only account for two of the albums 11, and an even bigger issue is they aren’t Tone’s rhymes but Young MC’s. The majority of the rhymes Tone did write are battle rhymes that hit about as hard as Richard Simmons punching a pillow. With the exception of a few, the production is lackluster. None of the instrumentals are outright terrible, but only a few have any lasting value beyond one listen. In a nutshell, Loc-Ed After Dark is two hit singles wrapped around an abundance of mediocrity. At least he can say he’s not just a one hit wonder. Or can he?

-Deedub

KMD is both an acronym for “Kausing Much Damage” and/or “a positive Kause in a Much Damaged society”, depending on how the group felt on the given day you ask.  The Long Island trio made up of Zev Love X, Onyx The Birthstone Kid (who apparently replaced the original member, Rodan, who left before the group got a deal), and Zev Love’s little brother and group deejay, Subroc.  KMD would get their first break on a national level after crossing paths with 3rd Bass’ MC Serch, which they were able to parle into a guest appearance from Zev Love X on the classic 3rd Bass joint “Gasface”. Zev’s guest appearance caught the attention of Elektra A&R Dante Ross, which led to KMD inking a deal with said label and the rest is history.

In the spring of 1991 the trio would release their debut album Mr. Hood, which would be the groups only official release, as their follow-up Black Bastards was shelved by Elektra due to its controversial album title and cover art (it was officially released by Sub Verse Music in 2001).  Shortly after KMD finished recording Black Bastards, Subroc was struck and killed by a car, which pretty much spelled the end for KMD. While there is still a search party out for Onyx the birthstone kid, Zev Love X would go into deep depression (which I’m sure a lot of it was brought on by the death of his brother), before he would completely reinvent himself and re-emerge as the masked villain MF Doom. Will get to his catalog at a later date, but don’t hold your breathe. But I digress.

Although I am familiar with a few of the songs on the album, today is my first time listening to Mr. Hood in its entirety. Lets see if the wait was worth it or worthless.

Mr. Hood at Piocalles Jewelry/Crackpot – Mr. Hood opens with Zev love X attempting to pawn a bracelet at a jewelry store, when Mr. Hood (who is a caucasian soundbite taken from an old movie) enters the same store to purchase some jewelry for himself, wife, and cousin.  After a little dialogue between Zev and Mr. Hood (that even includes Zev asking Mr. Hood for a job), Zev spits one verse over a Johnny Watson’s “Superman Lover” looped instrumental. Zev talks about an acquaintance he’s known since they were snotty nosed kids in head start, who has apparently decided to become a street pharmacist. This one ends with a pretty comical comment from Mr. Hood, and an equally amusing response form MF…I mean, Zev Love X.

Who Me? (With An Answer From Dr. Bert) – I believe this was the first single released on Mr. Hood.  Zev spends the length of this one asking the oppressor to whom he’s hurling derogatory terms at (you, nigga!), even though our host is very aware of the answer.  But just in case the answer wasn’t clear,  Bert from Sesame Street (who apparently went to med school) drops by to answer Zev’s inquiry. I didn’t care for the instrumental or the song for that matter.

Boogie Man – It only takes us three song to hear from (excluding the short verbage he contributed to “Who Me?”) the Robin to Zev Love’s Batman, Onyx the birthstone kid. Onyx could stand to bake a little longer in the oven, because son doesn’t sound ready yet. His flow sounds rushed and his boast are unconvincing (the Boogie Man never seemed so unthreatening), and when coupled with the underwhelming Stimulated Dummies produced instrumental, this song sucked.

Mr. Hood Meets Onyx – Our soundbitten friend Mr. Hood returns, this time taking part in a ranking session with Onyx. Not worth listening to more than once.

Subroc’s Mission – We’ve heard from Zev Love and Onyx, so it only right that Zev’s little brother/KMD’s deejay Subroc gets his own solo joint, right?  Instead of your traditional deejay instrumental with scratches, Subroc actually gets behind the mic and spits about his day time job as a barber (he is responsible for the sick “3rdBass” emblem that was cut into the back of MC Serch’s head in the “GasFace” video). Subroc has a decent emcee voice (kind of reminded me of Mr. Long from Black Sheep) but is just a barely average emcee. The instrumental was kind of nice, though.

Humrush – We finally get to hear both emcees (Zev Love and Onyx) rapping on a song together.  For all the build up it was quite the let down.  Neither emcee impresses nor does the Stimulated Dummies produced instrumental, making them 0 for 2 on Mr. Hood.

Figure of Speech – Zev Love X has definitely come along way as an artist, as he became a much better emcee during his MF Doom years. At this point he was still finding himself, and he sounds like he has a mouth full of marbles on this song, making it difficult to following him to the ditch he’s about to lead you into.  Which is probably a good thing for the listener’s safety but not his/her listening experience.  Did he take a shot at X-Clan on this one? Oh yeah, the song sucked.

Bananapeel Blues – Zev Love X tries his hand at spoken word over a drunken piano loop that I kind of dig. This one kind of reminded me of Gil Scott Heron’s “H2Ogate Blues” from Winter In America. Definitely worth a listen.

Nitty Gritty – KMD invites Brand Nubian to the stu for this chiper joint. While Nubian sounds miles ahead of their host on this song, it’s still a disappointing output from our Nubian brethren, so you can guess how KMD sounded on this one.

Trial ‘N Error – Zev Love is in battle mode. Next…

Hard Wit No Hoe – If this was recorded after 1997, you would be correct in assuming this song is about easy chicks and hard dicks based on the song title. But this was 91″ and cleverness and wit were still required to hold an audience’s attention.  I’m still not clear on what Zev’s story is a metaphor for, as it could be applied to a number of things. Had the instrumental been a little easier on the ears this may have actually been a decent song. But it is what it is.

Mr. Hood Gets A Haircut – I failed to mention that”Subroc’s Mission” begins with Mr. Hood asking Subroc to cut him up. On this skit Mr. Hood returns to Subroc for the haircut he refused him earlier.  Subroc agrees to cut him and the two chop it up about beats, rhymes, and life.

808 Man – Huh?

Boy Who Cried Wolf – Zev Love puts a twist on the classic tale as we know it, with his interpretation having the white oppressor as the “wolf” and the “boy” as the black man calling him out for his wrong doings. It was kind of weird to hear MF D- I mean, Zev Love X, operate as a conscious rapper. Don’t get me wrong, I like “conscious” hip-hop, but I’ll take the randomness of MF Doom over the conscious Zev Love X any day of the week.  By the way, the song sucked.

Peachfuzz – Ah…the sole reason I had any interest in purchasing Mr. Hood in the first place: Zev and Onyx ride this slick xylophone (the only phone Zev owned at the time) loop like a pony.  The duo discuss boys becoming men and how that relates to the ladies acceptance of these changes. Both guys sound a lot more polished then they did on the rest of their output on Mr. Hood to this point. I wonder how Mr. Hood would have sounded if we had more songs that included both emcees, and more instrumentals on the same level as “Peachfuzz”.

Preacher Porkchop – This interlude is useless and way too long.

Soulflexin’ – All three members of KMD get a verse on this one and soul flex what they got. None of them impress on this one, but it was a nice change of pace to hear them all give it that old college try. It is the mediocrity that binds them.

Gasface Refill – KMD decided to close out Mr Hood by revisiting the classic 3rd Bass song that Zev was invited to spit on with his melanin challenged brethren. The results are decent but it would have been kind of nice to hear Pete and Serch contribute a verse on this one. The instrumental doesn’t come close to touching the original, though.

After one complete listen of Mr. Hood I can say with all certainty that my life would have been completely fine without ever hearing it. Zev Love X was still honing his skills, while Onyx was completely forgettable, and Subroc (God bless his soul) was pretty irrelevant. The production (which with the exception of a 2 songs was completely handled by KMD) is lackluster for the most part. The Mr. Hood character who appears at the beginning of the album and makes a few more appearances up until the middle of the album, completely disappears for the second half of the album, leaving me wondering what his purpose on the album was in the first place, and rendering the album concept as an incomplete idea. If you’re a MF Doom Stan/historian and you must have everything in the man’s collection, then buy it used.  Everybody else should just track down “Peachfuzz” and enjoy the rest of your life.

-Deedub

As the nineties roared on hip-hop continued to grow and expand.  The east coast born genre grew up and begin to venture out of its childhood neighborhood and would eventually not only blow on the west coast but also touch all points in between. As hip-hop became more commercial, it was only a matter of time before it would become an international phenomenon. So naturally, our neighbors up north had to send representatives.

Enter King Lou & Capital Q, hailing from Toronto, Ontario, know to the world as the Dream Warriors. The DW’s can be classified as an alternative rap group, considering their abstract rhyming style and jazzy instrumentals. I’ve heard interviews with the duo taking credit for being the first group to incorporate jazz into hip-hop, which would be true if groups like A Tribe Called Quest and Gang Starr weren’t already 2 albums deep into jazz-infused hip-hop before the Dream Warriors dropped their first album. The duo would strike a deal with the now defunct label 4th & Broadway and release their debut album And Now the Legacy Begins. The DW’s Wikipedia page claims “And Now the Legacy Begins is regarded as one of the finest alternative hip-hop records of the golden era”, which means either King Lou, Capital Q, or one of their momma’s edited the page, because I’ve never heard the Dream Warriors name or And Now the Legacy Begins come up in that discussion.

Maybe they meant the finest alternative hip-hop record of the golden era, in Canada?

Mr. Bubbunut Spills His Guts – And Now the Legacy Begins opens with a little kid, who refers himself as Emcee Bubbunut, describing the album as “boombastic”, before going into this…

My Definition of a Boombastic Jazz Style – The instrumental immediately made me think of the Austin Powers movies, as it samples Quincy Jones’ “Soul Bossa Nova” (which was also used as the theme song for the Austin Powers movies). King Lou and Capital Q have a very intricate and coded rhyming style, that will either peak your interest causing you to listen to each verse several times to get the message or you’ll become so bored and frustrated that you’ll give up on duo and keep it moving. Thanks to my dedication to this blog and the charitable service I provide to you, the reader, I will listen to the entire album. But I’ll be damned if I rewind each verse to get all their abstract points.

Follow Me Not – This one opens with an interesting question (which also doubles as the hook): “Who is more fool? The fool, or the fool who follows the fool?” One of the two (sorry, I have a hard time telling them a part at this point) spits an interesting verse which is a little less coded than the previous song, and might even answer the hooks initial question. I’d have to listen to it again to confirm, though. The jazz-tinged instrumental was kind of nice, making for an enjoyable listen.

Ludi – The DW’s dedicate this one to the board game Ludi, which apparently was pretty popular in Canada. The instrumental was kind of cheesy and this one didn’t really work for me.

U Never Know a Good Thing Till You Lose It – Uses the same sample used on Brand Nubian’s “Feels So Good” (a bonus joint on the cd version of One for All). Once again, you’ll need to pull out your decoder to get the just of what the DWs are talking about, but unlike “Follow Me Not”, this one is all over the place.  So much so, even listeners blessed with the attribute of long-suffering will grow weary listening to this one. The screaming on the hook doesn’t help matters, either.

And Now the Legacy Begins – The Krush and Skad (yeah, I never heard of them either) produced instrumental has a west coast funk feel as it samples Tom Tom Club’s “Genius Of Love”. King Lou and Capital Q each spit a verse and sound more at ease on this one than any of the previous songs, but overall the song was just okay.

Tune from the Missing Channel – The hook uses the same sample that the UMC’s would later use to perfection on their often slept on classic “Blue Cheese”. I couldn’t get into this one, as the instrumental was trying to be too many different things, and I still have no idea what the song title or their lyrics mean.

Wash Your Face in My Sink – I’m assuming the title is a clever way for our Canadian brethren to say you can’t hold their jock straps. Regardless, the rhymes were pretty cool and I dig the horn sample brought in during the hook.

Voyage Through the Multiverse – The DWs are in battle mode as both King Lou and Capital Q drops some pretty slick rhymes over a dark instrumental that reminded me of Kanye’s “Get High”(circa The College Dropout). I can dig it.

U Could Get Arrested – Special guest (or guests?) Split Personality takes on double duties (no pun intended) as he gets a production credit and spits a few verses as well. Each of Split Personality’s personas gets a verse, with the first one sounding like Bushwick Bill and the second a poor man’s Kool Keith. This song is tolerable at best.

Journey On – Boring.

Face in the Basin – No, this is not a remix of “Wash Your Face in My Sink”, but what’s up with their obsession for getting people’s faces wet? Oh yeah, the song.  It sucked.

Do Not Feed the Alligators – What starts off as a clever warning to all competitors quickly turns into an exercise in repetition at its most annoying level, as King Lou and Capital Q spit the same verse 3 times, and I lost count of how many times they repeat portions of their verses after that. I mean, the verses were cool, but they weren’t all that. Overkill much.

Twelve Sided Dice – The DWs use the same sample used on EPMD’s “Please Listen To My Demo”, mixing it with a few other elements that give it a darker feel than their fisherman hat brethren’s interpretation. Not sure what the title of the song is a metaphor for, though.

Maximum 60 Lost in a Dream – I’m assuming this was part of an inside joke?

Answer for the Owl – King Lou and Capital Q get loose over a decent instrumental to bring And Now the Legacy Begins to a decent end.

After listening to And Now the Legacy Begins in its entirety for the first time, there is enough to tickle my interest. Some of the Dream Warriors production is interesting, and there are a few songs that I wasn’t crazy about after the first listen, but have potential to grow on me over time. Lou and Q are competent emcees whose lyrical abilities are often overshadowed by mediocre deliveries and heavily coded verses, so if they don’t appeal to you I completely understand. Overall, not a bad freshmen project. I’d check out their latter work if it pops up in the used cd bin for a few dollars.

-Deedub

Teddy Riley and his New Jack swing were in full effect in 1989, and by the early nineties this sound dominated R&B, and it eventually begin to penetrate hip-hop’s walls as well. Even legends like Big Daddy Kane worked with Riley, incorporating this swing into their songs (see “I Get The Job Done” from It’s a Big Daddy Thing). Of course, hip-hop artists who chose to use this new trend in their music were heavily criticized, with some being labeled sellouts, while others (like Kane) were able to avoid that label but their street cred still took a hit for the endeavour.  Eventually more and more producers begin to bite borrow Riley’s sound, including the subject of today’s review.

David “Redhead Kingpin” Guppy hit the scene in 1989 with his hit single “Do The Right Thing” (which ironically was released the same year as Spike Lee’s movie of the same title, but had no association with the movie; but even more ironic, Kingpin’s song was featured on the soundtrack for Wes Craven’s movie The People Under The Stairs…but I digress), a song that completely embraced the New Jack Swing sound. On the strength of “Do The Right Thing”, Redhead Kingpin and his crew, the F.B.I. released their debut album, Shade of Red in 1990, produced by himself and Markell Riley (from Wreckx-n-Effect), Teddy’s little brother. Like it’s lead single, A Shade of Red was also heavily influenced by the new jack swing sound, and was successful enough for Virgin to warrant a second (and final) album that Red & crew would call The Album With No Name. The album title actually sounds clever, but you know that saying about book covers?  The same can be applied for album titles.

I’m really not looking forward to listening to this. Why did I buy this album again? Oh yeah, because it was only a dollar.

All About Red – Our red-headed host comes out swinging like a toddler playing t-ball, dropping unimpressive rhymes filled with yawn-drawing metaphors. Redhead Kingpin sounds like a poor man’s Big Daddy Kane behind the mic.  His watered down new jack swing instrumental doesn’t help matters either. The most interesting part of this song was his shout out to Tre Lorenz at the end of the song. Where has that guy been? If r&b had a Mount Rushmore of biggest flops, Tre’s face would easily be on it.

Soap – Wtf?

What Do U Hate – Redhead Kingpin playfully spends the length of this song listing all of the things he hates, included everything from eating cereal with no sugar to taking a crap and finding out there’s no toilet paper left on the roll when its time to wipe. This sounds like something Fresh Prince would have written back in the day. Red’s instrumental is kind of interesting, and in a corny way this song kind of works for me.

Harlem Brown – And just like that the little momentum our redheaded host was building for himself goes out the window with this ode to a hoodrat named Harlem Brown.

It’s A Love Thang (Word) – *In my Charles Barkley voice* “this was turrible”.

No Reason – A short interlude the strings together a bunch of soundbites taken from the news regarding police brutality. Kind of weird to have this sandwiched in between two songs that have absolutely nothing to do with the subject.  Moving on…

We Don’t Have A Plan B – Red is overly hyped as he screams his lyrics over this track, covering everything from safe sex to defending Hammer for selling out, which left me scratching my head as to what the song title has to do with the song’s content.  Red’s instrumental (which uses the same sample Das EFX would borrow a few years later on their joint “Klap Ya Handz”)was kind of interesting, though.

Nice & Slow – Ha! I completely forgot about this song. This was one of the singles from the album, which has Red slowing things down a bit to spit a love rap for the ladies, with a vocal assist from no one other than Tre Lorenz. If you hate this song, I completely understand, but it works for me in a tender sappy love-rap song kind of way.

The Song With No Name – Red sounds really bad on this one, and his homie Tony Rome doesn’t fair any better.  What did Red mumble about his Gucci pajamas? At one point Red mentions to the listener that their probably wondering why they haven’t heard a title for the song; I was wondering why the hell this song even exist.

Interlude – Dedication to the dead homies.

3-2-1 Pump – This was the first single released from The Album With No Name. Red samples the Earth, Wind & Fire classic “Lets Groove” and turns it into a gimmicky and quickly forgettable dance track.

Wild Style Collage – That was quick.

Get It Together – Red’s call for unity, over a New Jack swing instrumental. Not much to see here, folks.

Got 2 Go – Hot Garbage.

Dave & Kwame (Gimme Dat Girl) – Remember Kwame?  The pokadot-wearing-blond-gumby-hair-having rapper whose career Biggie ended in one breath (see “Unbelievable” from Ready To Die)?  Yeah, that Kwame.  Red invites Kwame into the stu for this duet, as the two spend the first verse dissing each other, before the rest of the song loses focus and completely falls a part. This was painful to listen to. The previous sentence can be applied to the entire album.

The Album With No Name is good for a few moments of nostalgia, taking you back to a time when life was simpler and worry free. But as soon as you return from that trip down memory lane, you’ll realize this hot mess of an album is good for nothing other than a frisbee or cup coaster.  It’s not that Redhead Kingpin sucks as an emcee, but he’s not very good, and with the exception of a few songs, the same sentiment can be applied to his production.  Folks, there is a reason why this would be the last time the public would hear from our red-headed host. If there was an award for “Most Irrelevant Hip-Hop Album” of all time,  The Album With No Name would be a strong contender.

-Deedub

Most folks will remember Craig G as the lead off emcee from the classic Juice Crew joint “The Symphony”, a song that if you’re not familiar with and consider yourself a true hip-hop fan, you should immediately youtube, watch, and study. What you might not know is that Craig was also respected as one of the sickest freestyle emcees of his time (check youtube to see his epic battle with the freestyle legend, Supernatural). He later would go on to help Eminem write and coordinate the battle scenes in the movie 8 Mile and also wrote the rhymes for the character Dangerous in 50 Cent’s movie Get Rich Or Die Tryin’.

With the help of his mentor Marley Marl, Craig-G eventually signed a deal with Atlantic Records and released his debut album The Kingpin in 1989, which I’ve never heard but I’m sure most hip-hop fans haven’t either, since it only sold 17 copies worldwide. I am however, familiar with his second album and today’s subject, Now, That’s More Like It. Like it’s predecessor, Now, That’s More Like It failed to reach even wood status in sales, which would lead to Craig being dropped from Atlantic after its release and sentenced to dropping forgettable independent releases and never to be relevent in the hip-hop world again.

Which obviously isn’t a lot he’s content with, which might be one of the reasons he released an album in 2012 entitled  Ramblings of an Angry Old Man.

Intro – Craig G introduces the listener to the album before going into the first song…

What You’re Used To – A Young Salaam Remi gets a co-production credit on this one. Not a great way to open the album. On second thought, a pretty boring way to open things up.

Girl Fever – Marley Marl’s instrumental sounds like something LL rejected for the Mama Said Knock You Out album, and that is not a compliment.  Based on the title you can figure out what this one is about.  Nothing ground breaking here, folks.

Take The Bait – Marley recycles the drums he used on LL’s “Chill” and adds a guitar lick and sick horn sample on the hook, as Craig G sound more comfortable on this track then the previous two. Craig’s also in battle mode, which may explain his comfort. Ah, now that’s more like it.

Somem To Swing To – Marley’s instrumental sounds empty, which isn’t a good thing, since Craig G is the type of emcee who needs energy behind him to help him standout in a crowd. And what’s up with the spelling of the song title? Is it poorly executed ebonics or an honest spelling error?

I Want To Be In Luv – Now there’s a phrase you don’t often hear coming from a rapper. This is clearly Craig’s attempt to gain some kind of female fan base. Craig buys the lady of his affection an engagement ring and asks her to marry him, on the first verse, then spends the next two verses talking about how hard it is to find a woman when you’ve got notoriety. This might have worked better if he started the song off with the last two verses, then wrapped things up with the first verse, but it is what it is.  Marley’s instrumental has that new jack swing feel that he begin to flirt with in the early nineties, which is tolerable this time around.

Give It To Me – Craig G invites Masta Ace to the stu for this duet. Each emcee gets two verses to spit over a decent Marley Marl track.  End result: our host gets murdered on his own shit.

Intro II – Remember, this was recorded in 1991, when cassette tapes were still standard. This is a short interlude to kick off the second side of the cassette.  Think of it as the halftime show for the cassette version.

Ripped To Streads – By 1991 Marley Marl had severed his ties with Cold Chillin’ over financial disputes. This separation pretty much meant the end of the legendary Juice crew, but Marley continued to support and work with the youngest two crew members, Tragedy (aka The Intelligent Hoodlum) and Craig G. This apparently didn’t rub Juice Crew alum, MC Shan (who was Marley’s original protegé) the right way, as he would later diss Marley and Craig G in the old rap mag Word-Up! (now theirs a blast from the past). “Ripped To Streads” is one of two response songs to Shan’s disses on Now, That’s More Like It. Craig’s in battle mode and quickly destroys Shan and Marley’s miniscule but effected guitar driven instrumental, in one verse. (No, the song title isn’t misspelled. “Streads” is short for street beads, which are the unwanted string of beads left laying in the streets during Mardi Gras).

Ummm!!! – The title should be spelled “Mmmm”, since that is the way Craig G pronounces it, as does the Big Daddy Kane vocal sample (from “Dance With The Devil”) that he used during the hook.  Craig G’s verses are all over the place and the hook is complete nonsense (“I kick the rhythms to make you go…mmm”? What does that even mean? I’ve never listened to a sick song and suddenly had the urge to say “mmmm, that was hot”). Marley’s instrumental is kind of nice, though, and bound to grow on you the more you listen to it.

Smoothing Out The Rough Spots – Easily one of my favorite Craig G songs of all time (not that there is much to choose from). Craig describes Marley’s instrumental perfectly in his first verse as “a refresher course in hip-hop easily listening”. He then spends the remainder of the song describing Marley’s laid back instrumental to the listener, which sounds boring, but I actually enjoyed it.

Feel Ya Way – Craig G’s calling out wack emcees who suck but still try to feel their way through the rap game. I actually enjoyed Craig’s verses on this one, and Salaam Remi gets his second production credit of the evening, turning in a pretty nice instrumental.

No Favors – Craig G’s in salt mode over a girl who left him for another man, only to regret it and later attempt to reconcile. Craig plays the salty/angry role well, and turns in four hilarious verses. Salaam Remi’s instrumental (which is listed as a remix, I’m not sure where the original mix is or what it sounds like) is kind of scarce.  But Craig’s verses carry this song and will keep you interested.

Word Association – Craig G rides this laid back Marley instrumental like a bike, no training wheels required.

U-R Not The 1 – This was one of the singles released from Now, That’s More Like It. Craig shares three separate attempts at picking up ladies, all with unsuccessful results. Craig doesn’t come with the smoothest lines, so it should be no surprise he gets shot down, especially considering the insults he hurls at them. Marley’s instrumental straddles the r&b line but manages to veer its way back, maintaining it’s hip-hop integrity. The bass line is downright infectious, though.

The next three songs are bonus tracks on the cd version of Now, That’s More Like It

Swiftness – Craig spits battle rhymes, just to prove to naysayers that he indeed is nice with it. Decent is the adjective that best describe Craig’s verses as well as Marley’s instrumental.

Live Off The Top – Since Craig G is considered one of the best freestylers of his time, it’s only right he dedicates a whole song to the art. Not the greatest freestyle I’ve heard but its decent. This should be required listening for you rookies out there, as this has become a lost art form in our chosen genre.

Going For The Throat – Another diss record aimed at MC Shan. Craig G comes equipped with appropriate ammo, but unfortunately Marley brought a water gun to back Craig up.  This would have went over a lot better had Marley not given him a garbage beat to spit over.

Craig G doesn’t have Big Daddy Kane’s charisma, Kool G Rap’s tenacity, or Masta Ace’s wit, all signature qualities that when coupled with their emcee skills helped his former crew members create solid bodies of work and become hip-hop legends. Craig’s signature attribute was his ability to freestyle, which, unfortunately is a quality that doesn’t always translate well when writing songs with themes and concepts, for a full length album. Now, That’s More Like It isn’t a terrible album. There are actually quite a few songs that Craig and Marley’s chemistry shines on. But for ever solid song on Now, That’s More Like It, there’s a forgettable one to match it. Craig G possed all the technical skills required to be a solid emcee but lacked that special quality that allowed the audience to connect and embrace an artist like Big Daddy Kane, Kool G, or Masta Ace.

-Deedub

With the Bronx being hip-hop’s birthplace and New York being the hip-hop Mecca, it was only a matter of time before some of it’s neighboring east coast states would get in the hip-hop game and make a little noise as well. Boston native Edward Anderson begin rapping as a teen in the late eighties, under the alias of Edo Rock wit a crew called FTI, which was an acronym for Fresh To Impress (I know, it sounds corny but most things from the eighties do).  Edward made a little noise with FTI, but after the group’s freshness ran out and they no longer impressed, he linked up with two well-known NY deejays Teddy Tedd and Special K (also known as the Awesome 2), dropped the “Rock” from his name and added a “G” along with fourteen of his closest homies (who I’m still not sure what part they played in the group since they never rapped or produced a track on either of the two Ed O.G. & Da Bulldogs albums) and Ed O.G. and Da Bulldogs were born.

With the Awesome 2’s help, Edward and Da Bulldogs stuck a deal with PWL America, an offshoot of the Mercury label, and released their debut album Life of a Kid In the Ghetto in 91′.  To show his appreciation to the Awesome 2 for helping him get the deal, Edward decided to let the duo produce the entire album.

Let’s see how well that decision worked out for him.

I’m Different – Edward kicks thing off with an Awesome 2 instrumental that sounds like its lost in the woods and never quite finds its way out, remaining in an endless loop until it dies an untimely death due to lack of proper hydration and nutriment. Edward never quite finds himself either, but I’ll give him a pass, considering the instrumental he had to work with.  On the bright side: the vocal sample from Big Daddy Kane’s “No Half Steppin” used on the hook was a nice added touch.

Speak Upon It – I love this song. Edward invites Ace & Quan and Def Jef to help out on this one, as each spit a verse (Ace & Quan share one) about a few (of the many) injustices inflicted on African-Americans. The Awesome 2 redeem themselves for the previous track, providing a funky instrumental for the backdrop on this one. All four emcees do a pretty good job with Edward walking away with the song. Throw this one on your black history month mix. Classic.

Feel Like A Nut – I never liked this one and that still holds true today.  For some reason, Edward thought the listener would give two squirts about when and when he doesn’t want to have sex. Wrong.

I Got To Have It – Classic. You’ve heard Hamilton Bohannon’s “Singing a Song for My Mother” sample on several songs (which also includes one of the best horn samples ever used in a hip-hop song), but to my knowledge The Awesome 2 were the first to mess with it.  Edward spits three verses and does this sick instrumental justice in the process, arguably turning in the best song on Life of a Kid In the Ghetto.

She Said It Was Great – Over an average instrumental Edward shares stories about one of hip-hop’s favorite topics: the skinz. Some of Edwards metaphors are crazy corny (i.e.”she wasn’t like a radio, so I couldn’t turn her down”). I’m pretty sure this is no one’s favorite song (or even favorite Ed O.G. song for that matter).

Dedicated To The Right Wingers – This was in dedicated to the 2 Live Crew controversy. In case you forgot or are too young to remember, let’s recap: Back in 89′, 2 Live Crew’s album As Nasty As They Wanna Be was banned from being sold in the state of Florida because of their explicit sexual content. Luke (Campbell) and company were later arrested for performing some of their “lewd” material at a show in Florida. But 2 Live Crew fought back, and the case went all the way to the supreme court where the ruling was in favor of 2 Live Crew’s, on the grounds that banning their music violated their right of freedom of speech protected by the first amendment. Oh yeah, the song: it sucked.

Gotta Have Money (If You Ain’t Got Money, You Ain’t Got Jack) – Edward shares his theory that the only way to get ladies is by having money. I say, if that’s the only thing a lady wants you for, you got the wrong woman. The Awesome Two use the same sample we heard Premo borrow from for Gangstarr’s “Love Sick” earlier the same year. I’m surprised to say this, but I prefer The Awesome 2’s interpretation over Premo’s, only because of the addition of the cinematic sample the Awesome 2 incorporate into the track right before the hook comes in.  This was nice.

Let Me Tickle Your Fancy – Another song about Edward and his skinz.  The best part of this song is the Digital Underground vocal sample from “The Humpty Dance” (“come here, are you ticklish?”), and that’s not good.

Be A Father To Your Child – Classic.  This is my favorite Ed O.G. song off all time (and for those of you trying to catch me in a contradiction, I referred to “I Got To Have It” as the best song on the album, not my favorite. There is a distinct difference). Edward sends a message to all the absentee dads out their to take care of their responsibilities, and arguably, turns in his best verses of the evening, as he drops words of wisdom like an old sage. The Awesome 2 sample Roy Ayers classic “Searching” record, which you heard before, but I haven’t heard anyone incorporate the sick horn sample that The Awesome Two insert during the hook.  Classic hip-hop, folks.

Stop (Think For A Moment) – I think Edward is spitting battle rhymes, but I was so distracted by the battle taking place between the two clashing samples that the Awesome 2 decided to throw together on this instrumental, I can’t be sure. You know that whole water and oil saying? That applies to this instrumental.

Bug-A-Boo – I believe this was the first single released from Life of a Kid In the Ghetto. If not, it was the first song I heard from Ed O.G. and Da Bulldogs.  This playful song sounds like something Jazzy Jeff and Fresh Prince would have done back in the day. The end result: neutral.

Life Of A Kid In The Ghetto – Edward saves the title song for the last song of the evening, as he spits one long verse about coming up in the mean streets of Roxbury. This was a decent way to the show.

Other than his mother’s, Ed O.G. isn’t on anyone’s greatest of all time list. That said, he is still a decent emcee.  Decent, is also the adjective that best describes Life of a Kid In the Ghetto in general. Edward turns in serviceable verses but never spits anything that will make you hit the rewind button, while the Awesome 2’s production misses more than it connects, but when they do connect, they knock it out the park. In a nutshell, Life of a Kid In the Ghetto is three bona-fide classics wrapped up in a bunch of filler material. Still, if you’re a hip-hop fan you should at least have “Speak Upon It”, “I G0t To Have It” and “Be A Father To Your Child” on your iPod/Pad.

-Deedub

Four scores and seven years ago, before the Wu-Tang Clan would collectively leave their fingerprints all over our chosen genre, there were three:Prince Rakeem (Rza), Unique Ason (ODB), and today’s subject, Gary “The Genius” Grice. In the late eighties/early nineties the three went by the name All In Together Now, creating quite a buzz performing at parties in the New York boroughs. This buzz eventually led to solo deals (except for ODB, who was probably too involved in street drama and collecting illegal welfare to take hip-hop serious at the time), as Rakeem would release an EP on the Tommy Boy imprint, and The Genius would sign with Cold Chillin’ and release his first solo album Words From The Genius. The sales for Words From The Genius were unimpressive, which was part of the reason why the Genius would eventually leave the label, and with the help of Prince Rakeem (who’s EP didn’t do well either), begin the formation of the legendary Wu-Tang Clan.  More on that at a later date.

Now, I was fully engulfed by hip-hop in 91′, literally saving my allowance and any other money I could get my hands on to buy the new releases each Tuesday (which seemed like they came in bunches in those days) and reading The Source each month from cover to cover.  For the life of me, I can’t figure out how I completely missed Words From The Genius. It was released on Cold Chillin’, which was a viable hip-hop label in 91′, with most of its artists receiving heavy promo in the hip-hop mags as well as video rotation on shows like Rap City and Yo MTV Raps.

About a year ago, I stumbled upon a copy of the 1994 reissue of Words From The Genius at one of the few surviving mom and pop records stores in my home town (I see you Electric Fetus!!!).  Besides a generic different album cover (the album cover above is from the original release, the 94″ reissue album cover is at the bottom of this post) and the track sequencing being completely different from the original release, the only major difference between the two versions is the original release has “Come Do Me”, which is taken off the reissue and replaced with “Pass The Bone”, which is really strange considering “Come Do Me” was the first single released on Words From The Genius.

Without further adieu, lets give her a spin, kids.

Pass The Bone – Gary kicks off the evening with a duet with the Rza, who went by Prince Rakeem at the time.  This is a dedication to weed (how original). Rakeem warms things up on the first verse with the Gza wrapping things up on second. Both emcees sound pretty good and not too far removed from what they would sound like a couple of years later when they re-emerged as part of the Wu-Tang Clan. Old Dirty (Unique Ason) even get a shout out from Gza in his verse, making this feel more and more like a Wu-Tang affair. Both Gza and Rza are credited for the production, which is average, compared to the bangers Rza would serve up later in the decade. I’m sure this was included on the reissue as an attempt to capitalize on the recent success of the Wu at the time.

Life Of A Drug Dealer – Genius paints a very vivid picture of life from a drug dealer’s perspective on this one verse wonder. Even back in 91′  Gza’s wordplay and razor-sharp flow were fully developed. Easy Moe Bee’s funky instrumental completes the song making this an enjoyable listen.

The Genius Is Slammin’ – The Genius completely destroys this Easy Moe Bee yummy, leaving no evidence he was here, other than the finished recorded product.  Maybe its too early in the album to say this but I can’t believe The Gza didn’t get more attention back in 91′. Son was a lyrical beast! I’m still scratching my head at how I completely missed Words From The Genius back in the day.

Those Were The Days – The Gza reminisces back to Jr. high and high school, when he was honing his microphone skills. Easy Moe Bee provides a butter instrumental that the Genius dismantles with ease. The Genius doesn’t just spit rhymes, he verbally paints pictures. This song is a monster.

What Are Silly Girls Made Of – The Genius asks the question (which technically isn’t really a question since he forgot to include the question mark at the end of the song title) and then spends the next three verses answering himself. Gary turns in decent verses but the Patrick Harvey instrumental is a step backwards compared to the previous four songs.

Living Foul – The Genius confronts drug dealers, drug users (including marijuana smokers, which is a bit hypocritical, consider he and The Rza spend the entire first song passing “the bone”), and black on black crime. Moe Bee’s instrumental isn’t great but it’s not terrible either, so I guess that makes it mediocre.

Drama – Our host discusses life in the ghetto and the different snares designed to keep people in poverty. Not sure how I feel about this one. Definitely not my favorite song on Words From The Genius.

Words From The Genius – The Genius completely obliterates this sick Easy Moe Bee instrumental, as his wittiness and razor-sharp flow are on full display. You’ll have to rewind this at least once. You are witnessing a true wordsmith at work, folks.

Who’s Your Rhymin’ Hero – Patrick Harvey’s instrumental sounds like a poor attempt at a dance joint, but regardless, the Gza isn’t distracted by it and picks up where he left off on the previous song.

Phony As You Wanna Be – Gary calls out the fake/wack emcees. Our host once again turns in a stellar performance as he apes this funky Moe Bee backdrop. I sound like a broken record, but he is really that good.

Stop The Nonsense – This kind of works as a companion piece to “Life Of A Drug Dealer”, only this time the Gza calls out the selfish acts of a street pharmacist and the lives his actions effect. Decent song.

Superfreak – Gza spins two hilariously raunchy tales about of couple of episodes he had with a few gardening tools.  Patrick Harvey’s instrumental has a zany feel that perfectly fits the amusing subject matter. This one would even make Too Short blush.

Stay Out Of Bars – The Gza picks up where he left off on “Superfreak” and continues to amuse with two more hilarious bar stories, that are sure to make you laugh out loud. I can’t remember the last time I laughed at consecutive hip-hop songs, that were actually intended to make me laugh.

True Fresh M.C. – Agreed.

Feel The Pain – Both our host and Easy Moe Bee saved their best output of the evening for last, as this is hands down the best song on Words From The Genius. Unfortunately, if you bought the cassette version of the original release, you missed out on this one, as it was only included on the cd release.  

Words From The Genius might be the best hip-hop album from that I ever completely missed upon its original release. It’s rare when an artist makes me hit the rewind button to marvel at his or her rhymes, but I found myself doing that several times during the course of Words From The Genius, which is even more impressive considering it was released over 20 years ago. For the most part, Easy Moe Bee (who I think is severely underrated) provides consistently potent backdrops for The Genius to run bananas over.  There are a few mediocre moments on Words From The Genius, but the potent tracks far out way the weak ones. I have a lot more albums in my collection to listen to for the first time or revisit after several years, but Words From The Genius is going to be hard to top.  I have to listen to this shit again.

-Deedub

David Anthony Love Jr. was born in the Bronx in 1967.  At the tender age of 8, he begin deejaying at block parties (I know right? Where the hell were his parents?), and took on the moniker Kid Capri, after a female friend, who later passed away, told him it sounded like a cool deejay name. Capri would eventually work his way up from deejaying block parties to the club scene, where he would work the ones and two at legendary spots such as Studio 54. He might be best known for his 7 year stint as the house deejay for Russell Simmons Def Comedy Jam, which created a platform for up and coming black comedians in the nineties.

Many credit Kid Capri as being the godfather of the mixtape, as he was able to make a marginal profit off of his mixes in the eighties, before other deejay jumped on that bandwagon and made it as common as the cold.  Like most hip-hop deejays, Capri began to produce tracks as well.  Eventually Capri struck a deal with Cold Chillin’ and would release his debut album, strangely titled The Tape , which sounds even more awkward when you own the cd version, like myself. What is even more strange is that Capri doesn’t produce a single song on The Tape , but leaves that up to The diabolical Biz Markie, as he wanted to focus strictly on his lyricism.

Maybe he should have focused a little harder.

News Story – Kid Capri introduces himself and his crew (the Lords of Funk), before he abruptly jumps into this song. KC spits one long verse about some random drug dealer, whose hobbies include beating down punks and, of course, selling drugs, and his girl, who a porn star and helps her man distribute his pharmaceuticals, until he decides to kill her and ends up getting 25 to life. Not the easiest story line to follow, as Kid Capri will never be mistaken for Slick Rick.  Biz Markie samples Johnny “Guitar” Watson’s “Superman Lover” for his instrumental with mixed results. This was not an impressive way to start the evening, folks.

Billy – This one opens with Capri acting as a news reporter who interrupts the normally scheduled program to bring you the following special report :”we are looking for a man named Billy”.  Yep, that’s the only information provided. No age. No height. No weight. Just Billy. That narrows down the search to approximately 2 million people in the world. Apparently this Billy dappled in all types of illegal activity: fake credit cards, dealing crack, and…using UPS trucks? Wtf? Capri’s verses are ridiculously unfocused, and by the end of the song I’m not sure if Billy is a crack dealer or crack head. Kid Capri probably doesn’t know if Billy is a crack dealer or a crack head.  Biz uses the same sample from Biggie’s One More Chance” remix, which sounds okay, yet in still, this song is a hot mess.

This is What You Came Here For – Biz slows things down a bit with a laid back xylophone infused instrumental that Capri refers to as “the quiet blizzard”. KC sounds decent on this slower tempo joint but T.J. Swan completely derails any positive momentum with his horrific singing on the hook that is guaranteed to grate on your ear. Seriously, his singing is that bad.

Get ’Em – Biz Markie makes his first vocal appearance of the evening as he introduces KC before he spits one long verse over Biz’ minimal instrumental.  KC sounds okay, but I had to chuckle when he brags that he “can take an adverb and make it sound like noun”. What does that even mean?

Apollo  – This is Kid Capri’s ode to the legendary Apollo Theater. You’ll immediately recognize the horn sample this song opens with, since it’s been used on several other hip-hop songs over the years (ie “Show Em’ Whatcha Got” (PE), Show Me What You Got (Jay-Z), and “Rump Shaker” (Wreckx -n-Effect)). I must admit that Biz’ interpretation of that horn loop is the weakest of all the songs that have used it.

Hang ’Em High – This is one of two songs I remember liking back in the day, and ultimately why I had any interest in buying The Tape in the first place. Capri addresses the issue of child abuse and rape, advocating that the perpetrators of these crimes be sentenced to death by hanging. Capri turns in a decent performance but Biz Markie’s buttery instrumental is the real star here.

Lord’s Party – Biz opens this one doing the typical nonsense that made him famous, and unfortunately that is the best part of the whole song. Garbage.

You Know My Style – Biz opens this one with a “yo’ mama” joke to which Capri response to Biz that joking it not his style.  Biz provides a decent instrumental that KC does a serviceable job to, but I’m not convinced he even knows what his style is.

Whisper – Biz slows down the pace for Capri and his Lords Of Funk cronies, Silver D and Money Mark, to whisper in the lady of their respective choices ear.  The whispering is apparently working as some chick sounds like she’s having an orgasm during the hook.  Kid Capri sounds like Rakim compared to his Lords Of Funk brethren, so at least he didn’t get murdered on his own shit.

Jokes on You  – Jokes on me, as I’ve slept on this sick Biz instrumental for years. As usual, Capri’s rhymes are all over the place and not very entertaining. Just focus on the instrumental and Capri’s rhymes go down a lot smoother.

Pay Attention – Now this is my shit. If you don’t fall in love with this infectious Biz Markie instrumental, you don’t have a heart. Capri might not hold your attention but Biz’ instrumental with definitely make you obey the song title.

Don’t Sweat Me – Decent.

Step-off  – Okay.

The Shout-Outs – Over a sick instrumental that sounds nothing like something Biz would normally cook up, KC shows love to his peeps. It’s probably best that he didn’t try to rap over this instrumental as its way too serious for anything Kid Capri could conjure up.

The Tape made me think back to Micheal Jordan’s story. After winning his third consecutive NBA championship in 1993, MJ retired from basketball, stating he no longer had a desire to play the game. Many believed this decision was based on the murder of his father which took place a few months before he announced his retirement. He then decided he wanted to give baseball a try. After a brief stent in the minor leagues, MJ gave up on baseball and returned to the NBA and would go on to when three more consecutive championships, cementing his legacy as the greatest to ever play the game. Why did he leave baseball, you ask?  Because he sucked at it, and even though it was a dream he knew he wouldn’t be successful at it.   Sometimes you have to know your lane. The point I’m trying to make: Kid Capri’s lane is not rapping.  Overall, Biz Markie’s production is average, with a few stellar moments mixed in, but even if the The Tape was laced with masterpiece production from beginning to end, it wouldn’t make up for the lyrical lacking of our host.

-Deedub

In 1980 Maxwell Melvins was sentenced to live in prison for murder and would serve his time in the maximum security penitentiary in Rahway, NJ.  In between meals and lifting weights, Melvins had time to reflect on his mistakes and longed to find away to right his wrongs. Unfortunately for Melvins Jesus has a patent on the whole resurrecting thing, so bringing his victim back to life wasn’t an option.

What Melvins decided to do instead was become involved in the Lifers Group Juvenile Awareness Program (also known as Scared Straight), which invited juvenile delinquents to spend a day in prison so they could witness first hand the grim reality of life in prison and scare the devil out of their bad asses.  Melvins would eventually become the president of the program, but wanted to take the scared straight idea to the next level. What better way to accomplish this then to created a hip-hop project, right?

Melvins formed the Lifer’s Group which consisted of 14 members, all serving time in Rahway for serious crimes.  The groups mission: to demythologize the romanticism of prison that often informs rap music.  Somehow, even behinds bars, Melvins was able to shop his idea to different labels with no success, until he finally got the attention of late Hollywood Basic label head, David “Funken” Klein, who would give the Lifers a chance. Klein brought in a portable studio and within three weeks the Lifer’s completed their debut EP #66064, which is a shout out to Melvins’ prison number as he wa the brainchild of the whole. The EP allegedly sold 50,000 units, which gave Hollywood Basic some faith in the group as they would release a full length album a few years later (Living Proof), before coming a footnote in the annuls of hip-hop.

I happened upon this EP a few years ago while on one of my frequent visits to the used cd bin at a local pawn shop. I vaguely remembered a video from the group and an article in The Source about the project, and since it was only as buck, I took a chance on it.  I’ve never listened to the EP before.

Until today.

The Real Deal – The album opens with a greeting from Melvins, AKA 66064, instructing the listener to help keep their exclusive membership low. The drums drop before Aleem, Knowledge Born, Amazing G, B-Wise, Original, Rocky D, and Chuck X each spit a verse sharing with the listener what activities led up to their incarceration or their personal experience since moving into this gated community. With a runtime of just under 6 minutes and its reoccurring themes of a “cell is hell” and repeated reminders to “never drop the soap”, this song is too long. Is it just me or does Rocky D (the second to last verse) sound like an incarcerated version of Ice-T? The Dr. Jam and Phase 5 (yeah, I never heard of them either) instrumental was pretty decent, but none of the inmates serve it justice. No pun intended.

The Real Deal (Radio Edit) – Just in case the original mix of “The Real Deal” was to “real” for you, here’s the edited version.

Belly Of The Beast – Goldie Boone, aka #59119, opens this one by introducing himself as “one of the ones who didn’t listen”, as he’d been incarcerated 14 years by the time this was recorded (Goldie was 52 in 91′, which would make him 75 today. I’d be interested to find out how life has treated him over the past 20 plus years. If anyone has the inside scoop, hit me in the comments). The same inmates that rapped on “The Real Deal” also get a shot on this one, along with three more members: Merciful, Maxwell, and Almighty L. “Belly Of The Beast” is more of the same themes from “The Real Deal”, making the verses in the two songs pretty much interchangeable. Once again, Dr. Jam and Phase 5 provide a decent instrumental but the Lifers Group’s verses are underwhelming.

Belly Of The Beast (Radio Edit) – Same as original with the curses bleeped out.

Nightmare Man – Crazy Chris, aka 62098, spits a quick spoken word describing his prison persona: the nightmare man.  That’s all I got.

Suckers Edit – This one recycles “The Real Deal” instrumental and adds a few of the inmates vocal snippets taken from Scared Straight interventions.  Inmates Big Al, Commander, and Ron share some powerful words that would make any inspiring gangsta reconsider his career path . This is easily the strongest piece on #66064, which is sad considering its only an interlude.

The Real Deal (Big Bass Instrumental) – I’m not sure if the bass sounds any “bigger” on this mix than the original, but…whatever.

Belly Of The Beast (Instrumental) – Plays exactly like it reads.

Bonus Beats – This is basically the last few seconds of “Belly Of The Beast” with fellow inmates Gentlemen of Distinction singing the same refrain from the “Belly Of The Beast” acappella. Considering its acapella, this was a strange song title, and an even stranger way to end this maxi single disguised as an EP.

Kudos to the Lifers Group for sharing their stories in hope that it would deter troubled youth from making the same mistakes that landed them behind bars. Their intentions were good, but the results were not.  The instrumentals on 66064 are average at best and won’t stick to your bones after your done listening to them, but the bigger problem with#66064 is the rapping. The Lifers Group’s rhymes may be heartfelt, but they lack personality, soul, and more importantly, skill.  In order to save the troubled youth, you first have to gain their attention, and unfortunately #66064 doesn’t cut it. Not today or yesterday.

Just because you have a testimony doesn’t mean you should emcee. And every brother with a criminal record shouldn’t be a gangsta rapper.

-Deedub