Time Is Illmatic

Before Dwight Myers would become a music producer (he’s actually produced a track for Jay-Z), actor (check out his stellar work in Step It Up), and take a stab at his most recent venture, becoming a reggae artist, he was a bona-fide rap star, known to the world as Heavy D.

The Jamaican born rapper moved to Mount Vernon, NY as a kid where he eventually fell in love with hip-hop and decided to take his bid at emcee supremacy…or, get a deal so he could make some cheese to support his eating habits. Either way, Dwight, along with his deejay (DJ Eddie F), and back-up dancers (G-Whiz and the late Trouble T. Roy) would eventually become the first group signed to industry mogul, Andre Harrell’s newly formed Uptown Records imprint, under Heavy D & The Boyz.  Uptown Records, which would later become the label home to such r&b acts as Guy, Jodeci, and Mary J Blige, released Heavy D’s debut album (which I’ve never heard in its entirety) Livin’ Large in 1987.  Livin’ Large spawned two mild hit singles in “Mr. Big Stuff” and “The Overweight Lover’s In The House”,  which propelled it to earning a gold plaque, setting up high expectations for their sophomore effort Big Tyme.

Like the majority of Heavy D’s catalog, Big Tyme is light-hearted hip-hop with a twist of r&b which maintains a pop appeal.  Teddy Riley, creator of the new jack swing sound,  (who also produced the majority of Livin’ Large), provides a track, with Eddie F taking care of the majority of the production this time around (with a few contributions from a few hip-hop producing legends, more on that later).  Big Tyme was a commercial success, eventually earning the chunky one a platinum plaque.

All I really want to know is why Heavy D and Eddie F each get their own honey for the picture inside the cd booklet, leaving Trouble T. Roy and G-Whiz to share one.?  I tell ya, backup dancers get no respect.

We Got Our Own Thang – For the second consecutive write-up I’m mentioning a hip-hop track (I use the term loosely) produced by Teddy Riley…who would of thought.  This is Heavy’s letter to the world, kindly letting us know he and his Boyz got their own thang, so God bless a child.  Though I can’t stand most hip-hop/r&b blends, this one works for me since: a) it’s not a forced rap ballad b) Heavy (who is by know means a hardcore rapper) kind of fits this mold of hip-hop perfectly c) Teddy’s instrumental is pretty nice.  No this isn’t a hip-hop classic, but it is an enjoyable listen.

You Ain’t Heard Nuttin Yet –  The intro, which has a symphonic/cinematic feel, is way too dramatic of a build up for what actually happens when the real beat kicks in.  But once this mid-tempo bass heavy groove settles in, Dwight follows suit and rides this instrumental like a pony, and sounds right at home with his smooth delivery.  The lyrics were pretty random (Dwight even take the time to inform us that Harry Houdini is his favorite magician of all time; which fits in perfectly with this post, since what would have been Houdini’s 137th birthday just past yesterday.  Happy belated birthday, in the most literal sense of the term) but who listens to a Heavy D album for lyrics, anyway.  This was a nice mellow joint.

Somebody For Me – This might be the most popular song on Big Tyme (if  it’s not “We Got Our Own Thang“).  Eddie F provides Dwight with the second r&b flavored instrumental of the evening.  This is a love rap, but at least it’s not a ballad.  Heavy sounds sincere in voicing his desire to find that special lady, but since its apparent he won’t, he’ll just carry on being the overweight lover (which is simple an excuse for being a male ho).  Al B. Sure joins the proceeding to provide a very out of tune hook.  Again, this is what Dwight does, so it’s believable and enjoyable as well.

Mood For Love – Over Eddie F’s reggae tinged instrumental, Dwight goes back to his Jamaican roots with a little chanting and singing, covering one of his favorite topics: love (he doesn’t call himself the overweight lover for nothing).  This gives a glimpse into the path Heavy Dwight is currently traveling, as he comes across as a poor man’s Bob Marley (I mean that in the nicest way possible).  This wasn’t great nor was it terrible, it just…is.

Ez Duz It, Do It Ez – Dwight calls on old partner in crime, Marley Marl, to provide the beat for this one.  Marley, knowing his overweight buddy’s strengths, plays to them, providing a poor man’s new jack-swingish instrumental.  While the track isn’t bad, Heavy doesn’t sound interested  in his own verses, which causes this one to stutter a bit.

A Better Land – The liner notes say Pete Rock (also Heavy’s cousin) co-produced this one with Heavy, which explains it semi-soulful feel.  Dwight use this track to share a few uplifting verses, ultimately coming off as a hip-hop version of Michael Jackson’s “Heal The World”, only less corny.  Other than getting the chance to hear some of Pete Rock’s earliest work, there wasn’t a whole lot to see here.

Gyrlz, The Love Me – I believe this was the first single off the album.  Marley Marl returns to provide his second of three production credits on Big Tyme.  In case you cared, Dwight wanted to make sure you know: girls are crazy about him.  Personally, I didn’t care, nor do I care for Marley’s beat.  I do remember the video version of this song having a much hotter instrumental, though.

More Bounce – Eddie F borrows the beat from Roger Troutman’s song of the same title, for Dwight to make an attempt at catchin’ wreck (key word: attempt).  Heavy D has a knack for riding a track with his smooth flow, but he is not a great lyricist, by any stretch of the imagination.  He sounds overly excited on this track, which seems to throw his flow way off.  And to add insult to injury: his rhymes sound corny (how many time on one album do you have to say your height, son?).  It was kind of amusing to hear Dwight drop a “faggot” and “skeezer”, both in the same song (that’s hardcore for a Heavy D song).  Needless to say, this was weak.

Big Tyme – Dwight invites Pete Rock back to help co-produce this track.  The beat is cool, and Dwight sounds at home on this track (and just in case you missed it the other 712 times previous to this track: Dwight is 6″2), but Dwight, was it really necessary to take a shot at Debarge? Yes, I would agree that El and Chico probably aren’t the manliest of men, but Dwight, you’re marshmallow raps don’t put you too far ahead of them on the tough scale.  At the end you get to hear Pete Rock throw in (what would eventually become signature on a Pete Rock produced track) some adlibs.  All in all, this was cool (although, I prefer Brand Nubian’s usage of this same sample).

Flexin’ – Over a sparse Eddie F instrumental Heavy does his best to convince the listener (and himself) that he’s not only a lover, but a battle ready emcee.  I’m still not convinced.

Here We Go, Again – Marley Marl provides his final contribution to Big Tyme, and it’s not a memorable one, folks.  Next…

Let It Flow – Eddie F’s instrumental work would have worked if the mixing were cleaner.  As is, even with headphones on it’s a strain to hear the elements on top of Eddie’s drum beat. (I could barely make them out, only with the help of ear buds and a completely silent room, but one pin drop and its all over).  Heavy’s flow is still intact, and it was kind of nice to see it end on a unity level as he extends an invitation for his fellow rappers to join him on stage so they can sing “We Are The World” and get paid together.

I mentioned earlier in this write-up, I’m not a huge fan of r&B flavored hip-hop.  But ironically, the r&b flavored joints on Big Tyme are the strongest songs on the entire album, which eventually translates to an underwhelming listen.  There is no question Heavy D has a solid rap voice and a quality flow, but his lyrical ability and song ideas are limited.  He’s almost comical when he tries to come off as a battle emcee over harder tracks.  Maybe Big Tyme would have faired better if it consisted of all New Jack Swing r&b flavored joints for Heavy to get down on.  Oh wait, that would make it a Father MC album.  By the way, did you know Heavy D is 6 2″?

-Deedub

Riding high on the success of his platinum selling sophomore effort, How You Like Me Now (which I’ve never heard it in its entirety, but one I’ll definitely track down, eventually), Kool Mohandas Dewese returned in 89′ with his 3rd solo release Knowledge Is King.  I won’t cover his back catalog or his ongoing feud with LL. If you want more info on his background you can check out this link: https://timeisillmatic.wordpress.com/2010/11/18/kool-moe-dee-kool-moe-dee-1986/.

Like it’s predecessor, the majority of the production on Knowledge Is King was handled by the Star Trek-shaded one himself, with a little help from Teddy Riley and a few other collaborators.  Knowledge Is King did eventually go gold, but the true question is: is it a gold album? Because I always say: quality trumps quantity.  But since I only paid three bucks for this out of the used cd bin,  even if quanitity wins the battle, I’ve still won the war.

They Want Money – I believe this Teddy Riley produced song was the first single off of Knowledge Is King.  Since the two worked together on some of Moe Dee’s earlier work, this didn’t completely feel like a forced collaboration to simply get a beat from an up and coming and soon to be hottest producer in the industry, forged by the record label an attempt to increase record sales: that doesn’t mean it wasn’t.  Mohandas dedicates this one to all the ladies chasing his… you’re smart, I’ll let you figure it out.  I never cared much for this song in the past, and today I’m sticking to my story.

The Avenue – What starts out sounding like a dedication to the streets, quickly turns into an anti-drug message and Mohandas pleading with brothers to get their money through legitimate means.  While the message is a good one, Mohandas’ flow sounds dated and the beat sucks.  

I Go To Work – I believe this was the second single off Knowledge Is King (maybe not the second, but I know it was a single…I still remember the video).  Mohandas uses rap as a simile for different occupations, and I must say, does and excellent job translating his comparisons.  Mohandas borrows a portion of the James Bond theme music for his self-produced track, that gives the instrumental a cinematic touch, that works well.  This was pretty good.

All Night Long – This one is dedicated to the ladies.  No, this isn’t a cheap sex rap, nor an empty attempt at a love rap.  Mohandas actually shows some depth, as the qualities he’s looking for in a lady extend beyond on just her physical anatomy (but don’t get it twisted: physical features are included in his list or requirements, proving intellectuals like t&a, too), which is definitely a rarity to hear in our chosen genre.  Moe Dee’s self-produced track samples from King Floyd’s “Groove Me” providing some funk for the evening.  I didn’t realize until now, that this was released as a single, even spawning a video (here’s the link: http://www.youtube.com/watch?v=D8OS7cccbBI), which features Moe Dee donning a tight (in the literal sense of the term) purple leather suite (think Eddie Murphy in Raw) that looks like it getting ready to bust at the seams as Moe Dee attempts to bust a move.  The beat was cool but it’s Mohandas’ content that make this song a decent listen.

Knowledge Is King – Over a staple hip-hop sample, with a jazzy horn added for good measure (which I believe was played by Pete Q. Harris, whose given a production credit for this song in the insert), Mohandas drops a few jewels about, knowledge. This song reminds me of why I praised Kool Moe Dee so highly in my write-up of his debut album.  It’s always a plus when the album’s title song is a winner. 

I’m Hittin’ Hard – Mohandas “talks some shit” in an attempt to validate his emcee superiority.  While he sounds decent on the mic, his self-produced instrumental sucks (I’m starting to sound like a broken record).

Get The Picture –  Moe Dee takes the listener to church, thanks to LaVaba’s organ drenched instrumental.  Mohandas sounds good on the mic (he even takes on the greek gods in his second verse) and the instrumental is decent enough to make this a pretty solid effort.

I’m Blowing Up – Once again, Mohandas sounds decent on the mic but his instrumental is so boring you won’t even pay attention to his rhymes (will somebody pick up the needle, please!).  Moe Dee’s shuttle jab at his long-time nemesis LL Cool J, was semi-interesting. But other than that there isn’t much to see here.  By the way, don’t bother following the song lyrics printed in the insert, as they tend to go out-of-order and have extra verses added in that don’t actually appear on the songs.

The Don – This is the closest to gangsta rap that Moe Dee will ever get (even adding machine gun samples to his instrumental in an attempt to give it a “gangsta” edge, that falls flat and just ends up sounding generic), but still miles away from actually being gangsta rap. Moe Dee’s not claiming mafia boss, but more of a hip-hop boss. Oh Mohandas, you and your clever metaphors.  Mohandas adopts a flow that sounds suspiciously like Rakim’s, and ironically, uses the same sample used on Eric B & Rakim’s “Musical Massacre”.  The metaphor doesn’t quite work as this was pretty mundane.

Pump Your Fist – Mohandas reserves the final song of the evening to spit a “conscious” rap covering a load of social issues, all within the short span of three verses.  While Mohandas’s content is cool he sounds like he could use a gallon of coffee and a six-pack of red bull, as he doesn’t sound the least bit enthusiastic while delivering his lethargic lines. Oh yeah, his bland track doesn’t help, either.  I’m pumpin’ my fist in celebration that this chore of a listen is over.

If you read my write-up on Moe Dee’s solo debut Kool Moe Dee,  you will recall that I was very impressed by the man’s lyrical ability.  While Moe Dee does showcase some of that same brilliance on Knowledge Is King, the majority of his output never register above the average level, leaving me to believe that somewhere in between the release of Kool Moe Dee and Knowledge Is King, Mohandas ate a herd of cows and completely lost his hunger.  Speaking of appetites, Moe Dee, who handles the majority of the production on Knowledge Is King, apparently has a problem with his musical taste buds as well, as the majority of the beats are empty, boring, or down right terrible.  Do you think it’s a coincidence that after this album Moe Dee’s career took a downward spiral?  I think not.  

-Deedub

After releasing their self-titled debut album in 1984, Run-D.M.C. was praised for ushering in a new-school (that term is relative) hardcore sound when compared to their contemporaries of the time.  While the majority of Run D.M.C. consisted of sparse drum beats (two to be exact: used over and over again) and aggressive rhymes, the most popular song on the album was the rock influenced “Rock Box”, which included live guitar licks from Eddie Martinez.  Since “Rock Box” was so well received it was only logical the next step for the trio was to create an entire hip-hop/rock fusion album, right?

Right or wrong, it’s what they did.  With the production team of Larry Smith and Russell Simmons (with a few special guests to help inject that rock-edge into the music, including Eddie Martinez and Rick Rubin), Run-D.M.C. returned in 1985 to release their sophomore effort King of Rock.  Consisting of 9 tracks, the majority of the songs on King of Rock were heavily rock influenced.  With the release of King of Rock, it can be said this is where Run-D.M.C. went from rap stars to legitimate pop-music sensations as the album would go on to sales over a million units.

So while it’s clear the hip-hop/rock fusion idea made dollars, did it make sense? (get it, sense vs cents? Oh well, I thought it was clever)

Rock The House – This is nothing more than an extended intro over a drum beat that sounds like a leftover from Run D.M.C.

King Of Rock – Eddie Martinez makes his first appearance of the evening, playing live guitar over Larry Smith’s drum beat.  Run and D get straight to work, and though most of their rhymes sound dated (which was kind of funny to hear them mention they”never sound old school”), they still manage to sound convincing over the hard instrumental.  Darryl even makes up a few more meanings for the acronym DMC (“devastating mic control”  is decent, but “never dirty and most clean” is ridonkulously laughable).  25 years later, this still bangs.

You Talk Too Much – This is the answer record to Whodini’s “Big Mouth” (or the prelude to their own “You Be Illin”, you make the call.  This is dedicated to that dude we all know who can’t stop running his mouth.  Joseph and Darryl’s flow collectively sounds terrible, which matches the beat perfectly, but makes for a corny song that runs on way too long.  Next…

Jam-Master Jammin’ – Run and D’s ode to their deejay, Jam Master Jay (RIP).  I’ve said it before and I’ll say it again: I’ve never been a fan of this type of song but I do appreciate the solidarity.  This was just okay.

Roots, Rock, Reggae – Wow! Really? Darryl & Joe invite reggae artist Yellowman (who apparently was relevant during the eighties, I don’t remember anything from the man but I’m not the biggest reggae fan, either) to help create this train wreck of a song.  From the beat to each individual involved performance: this was really bad.

Can You Rock It Like This – The instrumental actually sounds like something you might hear on pop radio today (that’s not a compliment, by the way).  Over a rock guitar-tinged track Darryl & Joe spit lyrics (which range from boasts to expressing growing tired of the superstar lifestyle) that fall all over the place, and really have nothing to do with the hook.  This wasn’t good.

You’re Blind – Over yet another rock-tinged instrumental (staying true to the album’s title), Run and D spit their version of “conscious” rhymes.  The duo share stories of individuals who make blind decisions without considering the consequences.  And while the line in the hook instructing the  “walking blind” to wear glasses like DMC, was comical, the song sucked.

It’s Not Funny – This could have easily been title “It’s Like That II” as the beat (the vocal sample on the hook is beyond annoying, by the way) and Run & D’s flow sound identical to that song.  The duo waste nearly 6 minutes painting different scenarios that would not be funny if you’re the individual involved, but are very amusing if you’re on the outside looking in, but more importantly: they don’t make for an entertaining song.  Everything about this song is severely dated, and unlike the title suggest, this was very laughable.

Darryl And Joe (Krush-Groove 3) – With a little help from DJ Red Alert (although, I’m not sure if helped produce the track or just added the scratches) Run D.M.C. complete the Krush-Groove trilogy (the first two which are on their debut album Run-D.M.C.).  Joseph and Darryl regain the chemistry that has pretty much gone MIA since “King Of Rock”, as they exchange boasts and sound really good in the process.  The track, which by 1985 standards, has a futuristic feel, possesses a triumphant quality that makes for a good way to complete the Krush-Groove trilogy, and an even better way to end the album.

You know that old saying about time and fine wine?  Well, time had the opposite effect on King of Rock.  When you combine Larry Smith’s limited production with Run & D’s limited microphone ability (if your honest with yourself,  you’ll admit neither Run or D are in your top 10 when it comes to lyricist), you get a very underwhelming album.  I love “King Of Rock” and like “Darryl and Joe”, but those songs are the exception, not the rule.  King of Rock is not fine wine, but more like an old-ass 40 oz of Old E.  Good thing they dumped Larry and brought in Rick Rubin to handle the production for their third outing.

-Deedub

The year :1988 The scene: Brooklyn, NY.  A 14-year-old inspiring emcee Edward Archer, stumbled in to the garage based studio of up and coming producer Howard “Howie-Tee” Thompson.  The stumble was intentional, as Howie-Tee already had a pretty impressive resume, having already produced tracks for the likes of UTFO and Lisa Lisa & Cult Jam, being both Howard and Edward (or Hedward) lived in the Flatbush section of Brooklyn, Edward had a plan and knew just where to go.

Eventually, Edward, who would take on the alias Special Ed (which became a lot more fitting based on the bizarre flow he would adapt on his third release Revelations), and Howie Tee begin working on demos to shop for a deal.  Their demos caught the ear of Profile records, whom they would ink a deal with and in 1989, and the tender age of 16, Special Ed released his debut album Youngest In Charge. 

Youngest In Charge would go on to earn a gold plaque (based largely on the massive hit and classic “I Got It Made”) and received heaps of critical acclaim as well.  Did I mention, dude was only 16 then this was released?

Taxing – Edward doesn’t waste any time, and as if this were an EPMD album, he gets straight to business, as sounds Nimble and precise in the process.  Howie Tee’s beat was constructed around a Beatles sample (“Sgt Pepper’s Lonely Hearts”) that he wanted to use. But the Beatles catalog, which even then was untouchable (unless you like getting bitch slapped with lawsuits),  influenced Howie’s decision to get someone to replay it on guitar, and switched up the melody just a bit.  This is hot!  It sounds a lot better than I remember it.    

I Got It Made – Hip-hop classic: over a simple but infectious Howie Tee beat, Edward gets his braggadocio on, fantasizing about a life he obviously was living, being he was only 16 at the time (although, I’m sure his mom sent him to the store on occasion to pick up some Cascade so he could wash the dishes).  This song represents a time when hip-hop was innocent, which is gravely missed in this day and age (a tear, drops my eye).  This is timeless, has to be in your top 10 of all time (yeah, I said!).

I’m The Magnificent – I believe this was the second single off Youngest In Charge (or third?), but the remix version was used for the video.  Howie provides a reggae tinged beat for Edward to boast about his dominance, while simultaneously displaying his verbal dexterity, which is pretty impression when you factor in he was only 15 or 16 when this was recorded (though the line about “getting Grammies even though he’s not an actor” doesn’t make any sense, but will chalk that up to his youth).  So far we’re 3 for 3.

Club Scene – And then were hit with this mess?  Wow.  At least our host is gracious enough to warn us in his first line that this is an intentional attempt at a pop/club song.  The beat changes more times than Liz Taylor does husbands, covering house, hip-hop, r&b, and I think I even heard a little calypso in there somewhere.  Edward invites female emcee, Kazam (aka Howie Tee’s baby’s momma) to the party to spit a few lines too, and she actually sounds more comfortable over the dung beat than our host (take that for what it’s worth).  But neither parties sticks to the subject so it comes off like a 4 year with a loaded automatic weapon, recklessly spitting shots all over the place with no particular target:which at least puts the vocalists on one accord with the instrumental.

Hoedown – No, put back your cowboys boots and hats.  This isn’t that type of hoedown, silly (although, Howie’s beat made we want to promenade).  Over Howie’s Country and Western inspired beat Edward spits two verses about a couple of garden tools he’s used while gardening.  Ed’s not covering new ground here, but he does a great job of making it interesting with his witty lines (although, his misuse of the word “exception”, for the sake of making his line rhyme, was pretty funny).  I used to hate this song back in the day, but listening to it now it’s actually enjoyable.  I guess age has helped me appreciate the concept more, proving time is indeed illmatic.

Think About It – This was the third single (or second) released off the album.  Howie’s beat uses the same sample used on Eric B and Rakim’s “Microphone Fiend”, so it’s only appropriate that they used Rakim’s vocal sample from the same song.  Ed spews battle rhymes over Howie’s simple but effective beat, and sounds really good.  Another hot one!

Akshun – This is Edward’s ode to his deejay, Akshun.  I’ve never been a huge fan of this type of song but I do appreciate the team spirit.  Howie’s funky beat and Edward’s precise and smooth delivery, mad me believe it.  This was nice.

Monster Jam – Howie hooks up this go-go styled track for our host to go bananas over, as he proceeds to spit sick line after line.  Needless to say, the song lives up to its name. Next to “Got It Made” this is the 2nd best song on Youngest In Charge, in my opinion.

The Bush – Ed’s dedication to the place he represents, Brooklyn, or to be more specific: Flatbush (which is a community in the borough of Brooklyn). Howie Tee’s back drop, which samples Al Green’s “Love and Happiness”, is economically efficient. As usual, Ed sounds solid but looses focus and gets way off the subject, but manages to reel himself back in before the song ends.  This was pretty good.

Fly M.C. – What starts out as another boast fest from our host, quickly shifts gears and turns into young Edward trying to escape the clutches of a sex crazed Queen of France, who can’t get enough of under-aged, Flatbush weiner.  It sounds like something Slick Rick would have done, but only better (Ed claims this was written before Rick was out, which if you do the math means Ed penned this rhyme while still in diapers: which is really impressive, but I ain’t buying it).  When you factor in Howie’s boring beat, this is very skippable.

Heds And Dreds – Ed pays respect to his Jamaican roots and attempts a little chanting on this one.  While not great, it’s serviceable.  And that ends the regularly scheduled program.

My copy is an extended version that includes the following bonus tracks:

I Got It Made (Businesslike version) – The beat does give it a “business like” feel, which is cool, but it doesn’t measure up to the original version.

I Got It Made (UP Version) – This sounds like a remastered version of the original (it also sounds like Ed re-recorded his vocals, also).

Think About It (Instrumental) – Plays exactly how it reads.

Think About It (Howie’s Slo-Mo Party Mix) – The Jeopardy theme music mixed in between verses has no business coming near a hip-hop song, yet alone a Special Ed song.  The music during the verses switches up, a la Ice Cube’s “Jackin’ For Beats”, with mixed results.  This was okay, I guess.

One In A Million (Loose Talk In The Studio) – At Howie Tee’s request, Ed spits two of the 5,632 rhymes that he came with to Howie (it’s actually funny when Howie says it).  This is simply a one verse out take, but even in its rough draft stage, it showcases the lyrical ability young Edward possessed.

I’m The Magnificent (The Magnificent Remix) – This is the remix that was used in the video, and later released on his sophomore effort Legal.  This gives the song a harder edge compared to the original, which had more of a “happy” feel to it. 

Ready To Attack – This was also released on Legal.  Ed completely obliterates Howie’s beat (which uses the same sample that Pete Rock would later use on Run DMC’s “Down With The King”), spitting potent battle rhymes (a portion of which I believe was aimed at one of the Juice crew members) without breaking a sweat.  This is really hot!

Club Scene (Ed’s Special Mix) – Unlike the original version of this song, which mixes different music genres, this version maintains it house music theme,  and its sucking status.

Youngest In Charge is one of those albums that often gets overlooked in the discussion of  best hip-hop albums from the 80’s.  Ed spits articulately crafted rhymes with the confidence of a seasoned veteran, and in case you missed it, dude was only 16.  While most of the subject matter doesn’t move beyond boasting, his talent makes that heavily treaded ground an enjoyable listen.  And Howie Tee’s conventional beats, which aren’t ground breaking by any stretch of the imagination, complement Ed’s flow very well.  Youngest In Charge is not without a few missteps (i.e. “Club Scene” and “Fly MC”), it definitely deserves mention in the “best of” discussion.

-Deedub

In March of 2010, rumors that Keith “Guru” Elam had suffered a heart attack and slipped into coma, flooded the internet and other media sources.  Sadly, on April 19, 2010 the hip-hop community was saddened when the rumors were confirmed and Guru was pronounced dead.  Since this is my first Guru related write-up, it’s only right that I say: RIP Guru.  And now a brief history on the formation of Gang Starr.

After graduating with a degree in Business Administration from Morehouse, Boston native Keith Elam decided he would pursue a career in hip-hop. Somewhere between 1985 and 1987, along with a few other associates,  Keith, whose rap moniker was The Guru Keithy E, formed the original Gang Starr Foundation.  With help from legendary deejay/producer Mark 45 King (more on him later) the collective would go on to release a few 12″ singles on the now defunct Wild Pitch label.  Eventually the crew went their separate ways, leaving Guru with sole responsibility to carry on “the chain and the star” tradition.  Around the same time an up and coming deejay and producer named Waxmaster C, sent Guru a beat tape, which he was very impressed by.  Guru extended an invitation for Waxmaster C to join the foundation, and after changing his alias to DJ Premier (Thank God!  It would have been pretty hard to call a guy going by Waxmaster C the greatest hip-hop producer of all-time), the two would form the new and improved (and now legendary) Gang Starr, and in 1989 release their debut album No More Mr. Nice Guy. 

No More Mr. Nice Guy didn’t receive tons of critical acclaim, nor did it move a ton of units (but it did butcher Afrika Bambaataa’s name while shouting him out in the liner notes).  But it did produce a few decent singles, including “Manifest”, which is probably the most popular song on the album, but that’s not saying much.

Premier & The Guru – Over a simple but effective Premo beat, The Guru Keithy E (boy am I glad he dropped the Keithy E, that’s just way too much name for one man… not to mention, Keithy E sounds mad corny) uses three verses to introduce the world to he and his deejay. by 89′ standards Guru sounds pretty nimble on the mic.  This was a decent start to the show.

Jazz Music – This is definitely in my top 10 Gang Starr songs of all time: Guru pays tribute to jazz music by taking the listener on a journey through the history of jazz music, starting with its origin and name calling the key players who helped with its formation (a few months later Gang Starr released  “Jazz Thing” on the Mo’ Better Blues soundtrack, which pretty much covered the same territory, with a lot more detail (but conveniently failed to mention Miles Davis (who he mentions in “Jazz Music”), only the most influential trumpet player in the history of jazz music.  When asked about this omission in an old interview,  Guru said it was just a small oversight, though some speculate that someone within Branford Marsalis’ (who was heavily involved with the music for Mo’ Better Blues) family had a beef with Miles,  punking pressuring Guru into removing Miles name from the song).  Though this isn’t quite the boom-bap Premo would later become famous for, I still love the different layers and the Ramsey Lewis piano sample on this song.

Gotch U – Premo uses tribal drums for the backbone for this beat and borrows the sample Marley Marl used for Kane’s Raw (and later Kool G Rap’s “song title”).  I actually prefer Premo’s use of the sample over Marley’s (more so do to the drums).  Guru is a dope emcee,  but if Kane or G. Rap would have got a shot at Premo’s interpretation of the sample, they would have murdered him on his own shit.

Manifest – Speaking of Kane… Premo uses a Kane vocal sample for the hook to this classic Gang Starr joint. Guru’s manifestations range from boasts to lessons, over a hypnotic Premo track.  This version is cool, but Premo adds jazzy horns and a few more bells and whistles, to the remix, which  sounds 10 times better than the original.

Gusto – This is the first of two tracks that Premo would step a side and let DJ Mark 45 King handle production duties.  Guru’s first verse starts off awkward as he sounds as if he’s talking, but after a few bars you realize he’s started his verse.  Things don’t get much better, thanks to Guru’s low quality vocals which sound like they were recorded on a home karaoke machine.  This sounds like a scratch demo that should have been left on the cutting room floor.

DJ Premier In Deep Concentration – I’ve never been a huge fan of deejay songs, but this is hands down the greatest deejay song of all time!  Premier slices Kool & The Gang’s “Summer Madness” to pieces, adding in a few vocal samples that help make this the perfect gem from the title all the way through the end, where Premo’s vocal sample let’s us know it’s time to get “movin’ on”.  A little taste of heaven.

Positivity (Remix) – Album sequencing rule #1:  Never place a remix of a song before the original version appears on the album.  Like most of Vince Young’s actions, that’s just dumb.  Anyway, Guru spits “positive” rhymes over a decent Premo track.  That’s all I got.

Manifest (Remix) – See my comments up above for Manifest ( I love the extended instrumental that opens this version… Premo for President).

Conscience Be Free – Now this is a song I completely forgot about.  Over this multi-layered (remember this is 89′) smoothed out Premo beat, Guru sounds better than he’s sounded for the majority of No More Mr. Nice Guy, up to this point.  Again, this isn’t the boom bap that most Gang Starr fans would become accustom to hearing from the duo (and it may have too much of a pop/r &b feel for some of your taste buds), but it’s still enjoyable hip-hop from one of the greatest groups to ever do it.  Nice.

Cause And Effect – Premo scratches in the high-pitched whistle sample (that would become a signature of DJ Premier’s production work) over Isaac Hayes’ “Shaft Theme” sample.  I’m listening to this with my ear buds and Guru’s stacked vocals play on separate ears, so by the end of the first verse it becomes pretty annoying.  Overall this was cool…might have been a better experience without earphones.

2 Steps Ahead – Keithy E does his best Kool Keith impersonation, over a Premo track that sounds like it’s stuck in neutral.  That’s all I got.

No More Mr. Nice Guy – Hearing this now I can’t help but envision a half-naked Lil’ Kim and shiny suit Puff Daddy (pre P-Diddy, Diddy, and whatever he’s calling himself these days: not only did he (allegedly) invent the remix but he also would remix his alias, several time) dancing around in her video for “No Time”, which uses the same Vicki Anderson “Message From The Soul Sisters” sample used on that song.  Guru sounds serviceable, but nowhere near as polished as he would become in the following years.

Knowledge – Mark 45 King gets his second production credit (but I have a sneaky suspicion that Premo had his hand in this as its sounds like something he would have hooked up), with this being the superior of the two, this track is hot.  Guru and his guest Damo D-Sky (who’s not even mentioned in the liner notes) sound pretty good as they each get two verses and make the best of them.  This was hot!

Positivity – There really isn’t that much of a difference between this mix and the “remix”, other than Guru’s shoutouts at the end.  Since Guru kicks the same rhymes as the “remix” this turns into a waste of time.

No More Mr. Nice Guy is easily the weakest album in Gang Starr’s storied career, which says a lot about their output, because this is not a terrible starting point. Guru, who was clearly still finding his lane as an emcee, sounds very wet behind the ears for the majority of the album. Premo shows flashes of genius, as we get a taste of the greatest hip-hop producer of all times (yeah, I said it!) earliest works.  You wont love every song on No More Mr. Nice Guy, but you’ll like enough of it to make it a worthwhile listen.

-Deedub

Erick Sermon and Parrish Smith were a part of the class of 88′ (i.e. Public Enemy, BDP, Eric B & Rakim, and Big Daddy Kane), which all dropped stellar releases in the same year.  But unlike the other groups in that class who were backed by name brand crews, or had prior releases under their belts already, EPMD came out of nowhere to mess up heads with their own brand of east coast funk and undeniable chemistry on the microphone.  Riding high on the commercial and critical success of their debut album Strictly Business, EPMD returned in 89′, still in a business state of mind (which they have maintain through their lengthy career, when they’re not broken up), to release Unfinished Business.

While it received favorable reviews upon its release the duo are often criticize for playing it too safe and driving in the same lane they traveled on their debut.  But if that’s the only complaint you have for a hip-hop album, it must be pretty good.  Hey, if aint broke, don’t fix it.  

So Wat Cha Sayin’ – Erick and Parrish pick up where they left off on the last album and get right to business.  Staying in their comfort zone the duo spit their traditional boast over traditional EPMD funk, and sound traditionally good in the process.   

Total Kaos – I never was a fan of this song, mostly do to the boring track.  E & P spit their standard boast and sound pretty good, but it’s the beat that kills this song for me.

Get The Bozack – Now this is more like it.  Erick and Parrish are at the top of their game as they tag team the mic and completely demolish it in the process (although P’s mispronunciation of “assassination” at the end of his final verse was pretty funny).  The uptempo beat feels like a track field, and E-Double and PMD are running a 4 by 4 relay as they continue to pass the baton, and while one catches his breath the other takes off running his leg.  Yo, this is hot, son!

Jane II – The infamous Jane saga continues. While Parrish’s experience with Jane sounds a lot more interesting than Erick’s encounter in round 1, it still manages to not be interesting.  Over the same beat used on  part 1, P spits a sexapade that has no direction what so ever.  At least we get the Jane experience out the way early on, this time around.

Please Listen To My Demo – E & P show a rare glimpse of vulnerability as they relive the humbling journey on the road to getting a record deal.  Both emcees sound comfortable (although E’s line about having a “grin on his chin” was kind of funny) over this laid back track (I’ve always loved the eerie howling sound on the sample).  While most rapper who have attempted this kind of song are more boastful and celebratory, the hook mixed with the melancholy beat give the song a level-headed quality often missing in our chosen genre.  This was a nice change a pace and a very solid performance from the duo.  

It’s Time 2 Party – I’m torn.  I kind of like the track but I don’t like E & P rapping over it.  Plus it sounds like a forced effort at a pop hit… almost like something Will Smith would have done when he was still known as the Fresh Prince.

Who’s Booty – Over a very familiar James Brown sample the fellas share stories about “fishy situations” with the opposite sex.  Although I’ve never liked this song in the past it actually sounds decent today (mostly do to a solid verse turned in by PMD). 

The Big Payback – Erick and Parrish turn things back up a notch spitting solid rhymes over this efficient instrumental.  That’s all I got.

Strictly Snappin Necks – EPMD’s track sounds like a remix of the beat used on “Your A Customer” off of Strictly Business.  Both emcees sound decent enough, but this is far from their best song…but still miles away from their worst.  Although, it does seem to run on a little too long.

Knick Knack Patty Wack – Erick & Parrish invite hit squad member K-Solo (somebody put out an APB on that dude) to the proceedings for this one. E and P sound good but K-Solo the real stand out here, as he sounds like he hasn’t had a meal in a year and completely swallows the mic without stopping to chew.  Yeah, he misspells “bird” (b-r-i-d) in his rhyme and the acronym that makes up his alias is utterly ridiculous, but you can feel the dude’s hunger (if you listen closely you’ll hear his stomach growling).  This is probably the best K-Solo has ever sounded, and his inability to match this output is probably why he’s not around today.  I’ve always loved the Joe Cocker  “Woman To Woman” piano sample used on the track.  This has to be one of the better “posse cuts” from the eighties.

You Had Too Much To Drink – This is nothing more than a public service announcement over a generic rock-hop track.  This must have been a court imposed community service duty Erick or Parrish had to fulfil for one of their own DUI charges.  Either way, this was terrible. And it’s over 7 minutes long, which by the 4 minute mark had me wishing a drunk driver would drive through my living room to stop my ears from bleeding.

It Wasn’t Me, It Was The Fame – Erick and Parrish close things out by addressing all the haters who didn’t believe in them and think the duo’s success has changed them.  E & P hook up David Bowie’s “Fame”, and it actually sounds pretty dope.  Erick and Parrish stick to the subject at hand and do a great job of articulating their argument.  It would have been interesting to hear what EPMD would have sounded like doing more “thoughtful” songs like this.  Anyway, this song ends the evening on a good note.

Like their debut album Strictly Business, EPMD’s sophomore effort lives up to its title: as the “business” does sound a bit undone.  Don’t get me wrong, there are a handful of goods songs and maybe 2 great songs, but the inclusion of  “You Had To Much To Drink” alone hurts the credibility of this album.  I don’t have a problem with playing it safe, if the security is quality.  But I do struggle with the wack and mediocre, both in which Unfinished Business contains.  No, Unfinished Business is not as solid as their debut Strictly Business, but there is still enough on her to enjoy.

-Deedub

Back in the mid eighties Nathaniel Wilson, an inspiring rapper from Queens, was in search of a deejay to help jump-start his rap career.  One night while out clubbing Nathaniel stopped at a local spot, bumping  into a man carrying a crate full of records and the impact caused the records to crash from the man’s crates to the floor.  Both men bent down to gather the fallen records and their hands met while retreiving Billy Joel’s 52nd Street vinyl (insert slow music as the two gaze into each others eyes) .  The man carrying the crate was DJ Polo, and if you haven’t figured it out by now the inspiring rapper was Kool G. Rap.

Eric B actually introduced G Rap to Polo but you have to admit my Broke Back Mountain fairytale was a lot more entertaining.

Eric introduced G. Rap to Polo, who knew Marley Marl, and convinced Marley to let G. Rap and himself record at his home studio.  Legend has it that Marley was blown away by G. Rap’s skill it led to Marley adding the duo to his Juice Crew roster and eventually inking deal on his Cold Chillin imprint.

After making a stellar cameo on Marley Marl’s “The Symphony” from Marley’s 1988 release In Control Vol 1,  Kool G Rap & DJ Polo would release their debut album Road To The Riches in 1989.

Road To The Riches didn’t move a ton of units but it was well received on the east coast.  Lets give it a listen and see how it stacks up today.

Road To The Riches – Over a funky Marley Marl piano sample, G. Rap goes straight to work, spitting potent rhymes in his signature lisped delivery about his journey to obtain wealth (which apparently has taken a few different routes).  The intro was kind of funny as G. Rap refers to his partner (Polo) as plural, calling him “Polos”.  This was a great start to the evenings proceedings.

It’s A Demo – One of the many things I hate about hip-hop these days is the industry imposed song formatting. Everybody’s so concerned with commercial success that every song has to have that mandatory 16 bar, 3 verse (maybe 4) format.  Not G. Rap (in 89 at least).  This song is all over the place, ranging from 2 bars verses to well over 16 bar verses.  The track has a demo feel but G Rap’s vocal don’t.  He ferociously rips this track with raw lyrics matching the rawness of the instrumental.  This was sick, especially considering it’s just a demo.

Men At Work – Some of you younger cats might remember Black Thought paying homage to this song on “Thought @ Work” from the Roots Phrenology album.  Again, G. Rap throws format to the wind, and spits freestyle rhymes for what roughly works out to be 2 and a half verses, sounding great in the process. The minimal break beat (which is credited to Marley Marl but it sounds like Dr. Butcher has something to do with it since G. Rap credits him with providing the “cement” for the song) works well as the foundation for G. Rap’s skyscraper.

Truly Yours – G. Rap kicks 3 hilarious verses about his ex, who left him for a drug dealer, and even dedicates the second verse to dissin’ her new street pharmacist (who apparently wants to be a woman?).  After all the Karrine Steffans confessions (by the way the girl is still blazin’) it was kind of funny to hear G. Rap call out his ex’s new man for being a women beater.  Pot, meet Kettle.  I just listened to this song and I don’t remember much about the instrumental (take that for what it is), but the rhymes were hilariously entertaining.

Cars – This was an obvious attempt at a crossover hit.  Marley’s beat is built around a sample of a pop song from the 80’s (although I can’t put my finger on the song’s title or the artist who sang the song) for  G. Rap to spit rhymes about the benefits of having a fly car.  Did I mention G. Rap’s hooks have consistently sucked throughout the album?   Oh, well they do.  In case you didn’t guess already, the song never crossed over.  This was terrible, G. Rap.

Trilogy Of Terror – The beat, which sounds like a bunch of noise, gets so annoying by the middle of the first verse I thought about breaking the disc in half and slicing off both ears so I wouldn’t have to suffer any longer (or I could just hit the skip button, but then I’d be doing you a disservice).  What’s up with the harmonica during the refrain? Really? When has a harmonica ever provoked a feeling of terror?   Apparently, G. Rap, DJ Polo, and Dr. Butcher account for the three parts of this trilogy, so it’s safe to assume Dr. Butcher had a hand in producing this beat, even though Marley Marl gets the production credit (which was probably best for Dr. Butcher reputation).  Unfortunately, the instrumental was so bad I don’t remember much of anything G. Rap spit.  Oh, how fast the tide turns.

She Love’s Me, She Loves Me Not – One of the rare moments in G. Rap’s catalog that he shows some vulnerability. G. Rap get serious waxing poetic about his true love who has left him blue and lonely (maybe this was dedicated to Karrine Steffans?).  But this isn’t a LL Cool J sappy rap ballad. This song actually has legs, thanks largely to a sick track provided by Marley Marl.  Not bad, G. Rap.

Cold Cuts – G. Rap provides the opening (and only) verse, which works as an introduction for DJ Polo to do his thing on the wheels of steel (before he’s thrown out the studio by Marley at the end of the song while still giving his shout outs).  It is what it is, and it was what it was.  I’m just thankful it was short.

Rhyme I Express – Although the instrumental as well as G. Rap’s delivery sound dated, this song still worked for me. I love the scratched sample on the hook, and even though G. Rap’s delivery sounds a bit too old school for my taste buds, his content is still potent enough to hold your attention.

Poison – This is where Bell Biv DeVoe got the vocal sample for the hook (and bridge) of their mega hit under the same title (Roots fans will also recognize a portion of G. Rap’s second verse being recited by Black Thought as homage to G. Rap on “Boom!”, where he does a phenomenal job of not only reciting and mimicking G. Rap voice and delivery, but also does a great impersonation of Big Daddy Kane as well…check it out if you’ve never heard it).  Marley’s raw instrumental (which uses a piece of the same sample from Kane’s “Raw”) is the perfect backdrop for G Rap to go completely bananas on.  I’m curious on who (if anybody in particular) G. Rap was talking about at the end: as he accuses an unnamed “big fat sap sucka” of biting “It’s A Demo”.  If anybody have info on this, hit me up in the comments.

Butcher Shop – This is pretty much G Rap’s ode to DJ Polo. And with that, we’re done.

Road To The Riches is a good introduction to one of the most greatly underrated emcees of all time. There is no question that G. Rap is sharp with the lyrics, even with his heavily lisped vocal.  G. Rap probably would have fared well in construction as he demonstrates with his ability to build verses, with each line representing a brick for the next one to lay upon. Unfortunately, lyrics alone don’t make a great album; it only accounts for half of the equation, unless it’s an acapella album, and that would qualify it as spoken word… but I digress. Marley’s production (with help from Dr. Butcher) runs the gamut ranging from great to down right terrible, all packaged and wrapped up beautifully in the form of a 46 minute adventure. While Road To The Riches is far from a great album, more so do to the uneven production, it is worth a listen, if only to hear the foundational work of one the greatest to ever bless a microphone.

-Deedub

Time is truly illmatic…and chronology is filled with irony.  During my last review for the Jungle Brothers debut Straight Out The Jungle, I mentioned I first heard of the JB’s on “Buddy”, a classic Native Tongue posse cut on De La Soul’s debut album 3 Feet High And Rising.  Ironically (or illmatically), 3 Deep High And Rising just so happens to be the next album in my collection. But before we get into the review, let’s go back in time, a bit.

Kelvin “Posdnous” Mercer and Dave “Trugoy” Jolicoeur first hooked up in high school back in 1985, while they were both part of a local Amityville, Long Island group, Easy Street, where Posdnuos deejayed (under the name DJ Soundsop, which is Posdnuos spelled backwards) and Trugoy beatboxed and went by the alias (which is also his middle name) of Jude.   Easy Street didn’t last, but it did cement a working relationship between Dave and Pos that would eventually lead to the two forming their own group.   A friend of their’s introduced them to Vincent “Maseo” Mason, and De La Soul as we know it was born.

Mase knew Prince Paul who was a  part of Stetsasonic, who already had a deal with Tommy Boy at the time.  Paul would be responsible for introducing the label to De La Soul’s unique flavor.  And as they say in the business, the rest is history.

In 1989 De La Soul released they debut album 3 Feet High And Rising, ushering in the D.A.I.S.Y. age (a ridiculous acronym for “da inner soul, y’all), which with a little help from the album cover, label A&R’s, and De La’s “different” style, led many to mistake the trio as a “soft hippy” group (which whould lead to some physical altercations while touring), and by the time their sophomore effort was released the trio had completely denounced the D.A.I.S.Y. age (hence the reason for the title of the second album, De La Soul Is Dead).  3 Feet High And Rising would go to earn a platinum plaque and received heaps of critical praise (including 5 mics in The Source) for its unique style.

So without further a do, let’s give her a listen.

Intro – The concept for 3 Feet High And Rising is loosely based around a game show, ironically titled 3 Feet High And Rising. The intro introduces the 4 contestant, which consists of the 3 plugs and Prince Paul (who sounds like he’s was caught in mid stroke of a masturbation session during his introduction). Then the anonymous host (played by Don Newkirk, who also did some voiceover work on 3rd Bass’ “The Gas Face”, which Prince Paul also had a hand in) hits them with 4 ridiculous questions. Trust me it works and makes more sense after you’ve listen to the entire album. 

The Magic Number – Posdnous and Trugoy tag team the mic over this hippyfied masterpiece.  Right from the jump Pos hit’s the listener with his cerebral rhymes and Trugoy sound decent as well.  The beat sounds like it was taken from a skit from an episode of Sesame Street, but still manages to work.  Right from the jump De La establishes their own brand of hip-hop, proving that a 3 man crew is the magic number.

Change In Speak – Picking right up where they left off on the previous song, Pos and Trugoy wax poetic over this mid tempo-borderline-lazy paced track.  I love the horn samples sprinkled on the hook. 

Cool Breeze On The Rocks – Mase gets to shine as he scratches up several different vocal samples that use the word “rock”.  I’m not a huge fan of deejay joints, but this was hot.  The fact that it only runs 48 seconds helps too (the last few seconds of this cuts back to the game show with contestant #1 unable to answers the questions given on the intro).

Can U Keep A Secret – Prince Paul adds his zany touch to this interlude: over a jazzy, horn drenched track, Prince Paul whispers insults about the plugs and other crew members. This was pretty funny, nice way to break things up.  Now back to our regularly scheduled program.

Jenifa Taught Me (Derwin’s Revenge) – The plugs give the female joy box a first name… Jenifa.  Jenifa meet Jimmy, Jimmy this is Jenifa.  You get where this is going. Props to Pos and Trugoy, who could have taken the easy route by being blatantly obvious but instead choose to speak in poetic code, making the listener use a little brain power to comprehend.  I love this track, which is funky in every sense of the term.  So far all is well in the land of the daisies.

Ghetto Thang – Pos and Trugoy sound like two wise philosophers discussing the troubles that burden ghetto dwellers.  The track matches both emcees lyrics, beautifully, making this show pretty much flawless up to this point.   

Transmitting Live From Mars – Prince Paul apparently got a hold of an old French class tape. In french, the lady on the recording keeps asking “What time is it?”, while the man replies “It’s midnight” (who would have known my three years of french would finally pay off in the form of me being able to translate a skit from a De La Soul album). The beat is dope, but the french vocals don’t scream aliens to me.  This was either an inside joke or it was just waaaay over my head. 

Eye Know – The hippy vibe from “The Magic Number” returns for this love rap (noticed I said love rap and not rap ballad, there is a distinct difference).  Pos and Trugoy wax poetic about falling for that special someone over this pleasant track, that’s flavored with a whistle and jazzy horns over the hook. LL take notes, this is how you make a legitimate love rap song.

Take It Off – This has Prince Paul written all over it: the fellas are in straight clown mode, instructing you to take off everything from converse to hair weave.  It wasn’t really funny, but it’s short, so before you’re able to form an opinion either way about it, it’s over.

A Little Bit Of Soap – This is a public service announcement from Posdnuos, reminding you to take care of your hygiene.  This closes with contestant number two being unable to answer the 4 questions as well.

Tread Water – Pos and Trugoy get their Dr. Doo Little on, as they share stories about conversations they’ve had with different animals who inspire the two emcees to keep pushing on (it may sound corny but I like the abstract take on this one).  The beat reminds me of “Jenifa Taught Me”, with just enough adjustments to set it a part.  I heard Prince Paul wrote a kids rap book a few years back, this probably would have fit in perfectly (that’s not an insult, by the way).

Potholes In My Lawn – The plugs use “Potholes In their Lawn” as a metaphor for emcees bitin’ their style. Yeah, it doesn’t quite worked for me either.  I’ve never liked this song, and that hasn’t changed today.

Say No Go – The plugs discuss the crack epidemic which became very prevalent during the late eighties.  Pos and Trugoy tag team and approach the subject manner from a few different perspectives: the user (and in some cases the user’s baby), the dealer, and even the powers that be, that allow it to get in to the hood.  In true Native Tounge fashion De La tight ropes this serious topic which provokes the listener to laughter and tears, all within the same 16 bar verse. I’ll add this: Posdnous is one of the most underrated emcee in hip-hop.  No, he’s doesn’t have a magnetic personality or animated delivery, but through his career, if you pay attention, he’s consistently brought thought-provoking and impressive lyrics. By the way, I love the Hall And Oates sample, Paul.

Do As De La Does – This is another clown session of utter randomness.  This is one of the many things hip-hop is missing these day: groups just having fun.  The last few seconds cut back to the game show where the third contestant can’t answer the 4 questions either.

Plug Tunin (Last Chance To Comprehend) – Plugs 1 and 2 (Posdnous and Trugoy respectively) take care of their mic checks, and while they’re not saying anything important they still sound good in the process.  I love the piano sample sprinkled throughout the course of the track.  Nice. 

De La Orgee – This was unnecessary and kind of funny (hearing Q-Tip’s high pitch vocal demanding his “buddy” to yell his name still makes me chuckle, a little bit at at least). This is forgivable since it’s a segway into this… 

Buddy – The first posse cut on the album includes Q-tip and the Jungle Brothers discussing one of the Native Tounge’s favorite topics: skinz.  The remix of  this song (which adds a ladies touch with help from Queen Latifah and Monie Love) is clearly superior to the original, but the original is still dope in its own relaxing way.  My only quarrel with this song is the director should have yelled “cut” when the beat went off.  Instead your left feeling like you’re Mel Gibson’s character in What Women Want stuck hearing the thoughts of a bunch of horny teenage boys hiding in their rooms watching Bang Brothers videos on the computer.  Didn’t need to hear all that, fellas. 

Description – Each member of the crew introduces themselves to the listening audience (why they waited to do this when the album is nearly over? I don’t know).  Q-tip even pops up to turn in another short verse, making this his second cameo in as many songs.  There’s another guy and two chicks who get short verses as well, before Prince Paul closes out this short but pleasant experience. 

Me Myself And I – This is arguably the most popular song in De La Soul’s lenghty catalog (and my first introduction to the trio).  You’ve heard this, but if not, you should.  This is a certified banger. (And if you’re keeping score, it closes by going back to the game show where Prince Paul’s unable to answer the 4 questions, as well)

This Is A Recording 4 Living In A Fulltime Era (L.I.F.E,) – Pos and Trugoy use a style similar to what Ren attempted (and later what Smooth Da Hustla would perfect) on a few songs on Straight Outta Compton.  You know: where he says a phrase and then flips the same phrase and spits it backwards.  It’s really not as interesting as it may sound. Overall this song was half a millimeter over the average mark on the ruler, making it clearly the weakest song on 3 Deep High And Rising, so far.

I Can Do Anything (Delacratic) – Prince Paul and the Plugs (though this has Prince Paul’s signature written all over it) do a parody of  one hit wonder JJ Fad’s “SuperSonic”.  No matter how many times I hear this I always laugh at Trugoy’s one liners (especially the line about holding two pieces of do-do in his hands). 

D.A.I.S.Y. Age – Everything said for “This Is A Recording” applies to this song as well. This ends by taking us back to the game show. Since none of the contestants are able to answer  the questions, you, the listener are invited to answer the questions and mail (no not email, I’m talking pony express, this was 89′ homie!) them in with a chance to win an unidentified price (which I’m sure was a De La Soul or Tommy Boy t-shirt, or something equivalent). But the catch is you had to send your answers in with the two proof of purchases found on the artwork insert, which of course means you had to buy the album (this quickly knocked out most of your crew since they all had dubbed copies which you provided from the cassette you actually purchased).  Buying the album was the easy part, finding the correct answers for those inane questions is the hard part. 

Plug Tunin – This sound like a rough draft of the version heard earlier on the album, with a few small changes to the track here and there, but the same verses (or are they?). Not sure why they need both versions…and with that we’re done.

The Jungle brothers introduced us to the Native Tongues abstract styling on Straight Out The Jungle with solid effect.  But De La’s 3 Feet High And Rising would take that abstraction to another level, far above and beyond 3 feet high, twisting abstraction into a nerdy hip-hop masterpiece that will forever reside in the clouds reclining in the heavens (I know, I went a bit too far).  Their funky slash jazz slash hippy production is matched beautifully by Pos and Dave’s thoughtfully constructed rhymes.   

Did The Source Get It Right? I’ve never liked “Potholes In My Lawn”, but the rest of the album is strong enough to warrant a “yes”.  Any hip-hop collection without 3 Feet High And Rising looses all credibility, period.

-Deedub

Let me start by saying this: I am a Native Tongue Stan.   A Tribe Called Quest is my favorite hip-hop group of all-time (key word, group) with De La Soul falling somewhere in my top 10.  Black Sheep, Queen Latifah, Monie Love and others would also go on to rep the Native Tongue Posse as well, with varying success. But it’s safe to say, there would be no Native Tongue without the foundation, the Jungle Brothers.

My first introduction to the Jungle Brothers was on “Buddy” from De La Soul’s debut album 3 Feet High And Rising, later discovering they had released their debut album the previous year.  Jungle Brother members, Mike G, Afrika Baby Bam, and deejay Sammy B, released their debut Straight Out The Jungle on the independent label Warlock Records, in November of 1988.  Despite Afrika Baby Bam’s terrible alias (which is homage to the Godfather of hip-hop, Afrika Bambaata), Straight Out The Jungle was highly acclaimed, and is recognized as one of the first hip-hop albums to fuse jazz samples with hip-hop.  And like most highly acclaimed hip-hop albums, its praise didn’t translate to high records sales.  It did generate enough of a buzz to get Warner Brothers interested, which led to a deal  with the major label, where the next two JB albums would be released.

But for now, I’m only concerned with Straight Out The Jungle.  Let’s give it a listen to see if it is worthy of all the praise that has been draped upon it.

Straight Out The Jungle – The JB’s kick things off by spitting verses about life in the concrete jungle.  You’ll recognize a few hip-hop quotables from Mike G and Afrika that have been used in several other artists songs.  This was a nice way to start the show.

What’s Going On?  – The opening songs is a nice segway into this song, as Afrika and Mike G share stories about lifestyle choices (and the situations that led to said choices), which leads them to the proverbial question asked in the title. Mike G and Afrika do an excellent job covering serious subject matter while balancing the type rope that teeters between serious and playful.  The JB’s borrow from Marvin Gaye’s song of the same title, and add a jazzy horn sample on the hook, which reminds me of a time that I miss.  Two for two, nice start.

Black Is Black – Q-Tip (from the legendary A Tribe Called Quest) joins the JB’s to speak on black history and the light skin/dark skin issue that plagued the black community (and still does to a lesser degree) in the 80’s.  The Abstract Poetic (who at one point went by the alias of J-Nice, but changed it to Q-Tip after he was told it sound to similar to LL Cool J, not to mention, it’s kind of corny) lives up to his moniker as he spits not one, but two solid verses, leaving our gracious host to share the final verse. I’m a self-proclaimed ATCQ Stan, so hearing Q-Tip utter his first recorded verse was pretty cool, but overall this song was just okay.

Jimbrowski – Over a simple but dope drum beat, the JB’s are in clown mode on this ode to “Jimbrowski”, also known as Jimmy, bozack, cactus, or dick.  In classic Native Tongue fashion, Mike G and Afrika spit playful rhymes making turning this into an entertaining listen.

I’m Gonna Do You – So now that the brothers have introduced you to Jimbrowski, it’s only natural that they tell you what they plan on doing with him, right? This would be the first song, of many more to come from the Native Tongue crew, covering one of their favorite topics, skinz! Though they would go on to make some pretty memorable songs covering the same topic, this was lackluster.

I’ll House You – House music was huge in the late eighties and early nineties, and hip-hip being the prostitute that the music business made it, also attempted to cash in on it as well.  I’ve always considered this song satire, poking fun at house music (similar to De La Soul’s “Kicked Out The House”), but it would go on to be one of The Jungle Brother’s most popular songs (this song was not included on the original release of this album but was added on later pressing released in 1989).  I actually liked house music, so this song works for me.  I’d like to think the pimp that made this song possible.

On The Run – Afrika and Mike G address the struggle of balancing family and home with life on the road, in true Native Tongue fashion.  This was dope.

Behind The Bush – Another song about skinz, but unlike “I’m Gonna Do You”, this one works.  Mike G and Afrika’s rhymes match the smoothness of the track, as both emcees wax poetic in their discussion on hittin’ the bush, in the bush.  This was really good.

Because I Got It Like That – The JB’s kick back and have fun spitting rhymes filled with all types of randomness, and they also manage to talk a little shit.  This was pretty enjoyable.

Braggin & Boastin’ – Afrika and Mike G spit their version of battle rhymes, and make sure you’re aware Sammy B is on the cut.  This was pretty forgettable, but I’ll never forget who’s on the cut.

Sound Of The Safari – This is an instrumental which includes samples of sounds one my expect to hear while spending quality time in the jungle, or your local zoo.

Jimmy Bonus Track – This is a short instrumental with a vocal sample pleading with the listener not to “front on the Jimmy”…

The Promo – That turns into this. Over the same beat used on the previous song – minus the vocal sample and adding a dope horn sample – Q-Tip joins Mike G and Afrika to do exactly what the title suggest: promote the hell out of ATCQ’s debut album (he mentions Ali repeatedly, but makes no mention of Phife, what’s up with that?) while the JB’s plug their second album Done By The Forces Of Nature.  Like “I’ll House You”, this was also not included on the original pressing of Straight Out The Jungle.  All three emcees sound good over this beat making this a really good ending to the show.

Straight Out The Jungle is a great start to the career (although I’m not sure what’s happened to Afrika’s career. After joining the Pagan Society, dudes been on some other stuff) of one of the pioneering groups in hip-hop.  Coming up in an era where most hip-hop artist were politically charged, gangsters on wax or had ball grabbing bravado, the Jungle Brothers were a nice change of pace, as they covered topics that the average brother (i.e. working class tax paying citizen) in urban america could relate to. When you add the solid beats to their relatable rhymes, you get a pretty solid effort.

Did The Source Get It Right? Props to the JB’s for ushering in a new sound of hip-hop.  Props to the JB’s for giving me ATCQ and De La Soul.  But unfortunately, I have to disagree with The Source’s 5 mic rating.  For the most part, the production and rhymes on Straight Out The Jungle range from decent to solid but there are a few too many lackluster moments to give it a 5 mic rating.  I’d go with a 4, maybe a 4.5.

-Deedub

Rick “Slick Rick” Walters met Dougie Fresh back in 1984, while Dougie was judging an emcee contest that Rick was entered in.  Dougie Liked Rick’s style, which led to Rick joining Dougie’s Get Fresh Crew.  In 1985 Dougie and Rick (and the rest of the Get Fresh crew) released the single “The Show”, with the b-side “La Di Da Di”,  and both songs would go one to be hailed as hip-hop classics.  But with fame comes money, and with money comes problems, especially when mixed with a little greed and a lot of ego.  The Get Fresh Crew was no exception.  Rick didn’t feel he was getting his just due, so in the immortal words of Ice-Cube, “I saw it commin” that’s why Rick went solo.  Russell Simmons signed the free agent to Def Jam and in 1988 Slick Rick released his solo debut The Great Adventures of Slick Rick.

The Great Adventures Of Slick Rick would showcase Ricky D sticking to his strong suit and giving his fans what they wanted: more hilariously zany stories.  Def-Jam thought it would be a good idea to bring in two-thirds of the Bomb Squad (Hank Shocklee and Eric Sadler) to handle half of the albums production, while Ricky D would handle the rest (for the most part).  

The Great Adventures Of Slick Rick is hailed by many as one of the best hip-hop albums of all-time (The Source also gave it 5 mics), and its critical success was matched commercially, as The Great Adventures would go on to earn a platinum plaque.

Let’s give listen and see if it lives up to its rep.

Treat Her Like A Prostitute – Interesting way to start the album. Over his self-produced track, Rick kicks three tales about three cheating chicks in comedic fashion, like only Slick Rick can deliver. While the beat is decent it’s Rick’s razor-sharp storytelling and attention to detail that carrier this song on its shoulders.  This was a pretty entertaining intro.

The Ruler’s Back – Ricky D lets all competitors know he’s back from his hiatus to reclaim his imaginary throne.  In regal fashion, Ricky’s gives biting emcees the middle finger, but he’s not seeking revenge or to embarrass them.  He simply wants them to repent for their wicked ways.  Jam Master Jay’s beat is okay, but once again Rick’s rhymes are so well put together and delivered with such precision, its forgivable.

Children’s Story – Hip-hop classic.  If you’ve never heard this song you’re probably reading the wrong blog. While reading the liner notes I discovered Rick produced this classic beat (or maybe I just forgot…I tend to forget details on albums from 20 years ago) that Montell Jordan would later steal borrow, and turn it into a club and commercial hit a few years later.  Rick spits one long verse (has to be at least 100 bars, but whose counting) about a young kid who’s bad decision spins out of control ending fatally (with words, I know it sounds like a somber song, but it’s really not).  It’s probably the most pleasant murder on record that you’ll ever experience). I repeat, this is a certified hip-hop classic, you must become familiar with this song to get your hip-hop certification.

The Moment I Feared – Over this Bomb Squad track, which doesn’t sound very Bomb Squad-ish (it could use a cleaner mixing to bring out all the elements that might be missed with the naked ear, thank God for ear buds), Rick continues with his adventurous storylines.  This time TGIF turns into life in prison, all over the course of what should have been a relaxing weekend.  Rick’s in rare form, but the track is only mediocre, which takes away from the overall effectiveness of this song.

Let’s Get Crazy – Now this sounds a little more like a Bomb Squad beat (although, it doesn’t sound quite as busy as a PE song).  I guess this is Rick’s mandatory party song (which today would be equivalent the mandatory club song).  Rick sounds like he didn’t even enjoy recording this song, and that vibe is thrust upon the listener as well.  I guess they all can’t be strong.

Indian Girl (An Adult Story) – This time Rick relays a story about an Indian girl named Running Rabbit (Really? Talk about stereo-types) who over the course of a few verses talks her out of her draws.  The story ends with a hysterical twist.  This was clever and entertaining, but not one of the strongest songs on the album.

Teenage Love – Another certified hip-hop classic.  Over a uncharacteristicly mellow Bomb Squad track, Rick waxes poetical about a relationship that started out strong but over the course of time has lost its flame (at least for one of the parties involved).  But instead of jumping out of this crashing plane, they decide to go down in flames, ultimately exchanging one flame or another.  Rick and the Bomb Squad are on top of their game turning in a flawless effort.  Seriously, this is poetry first, rap song second.  I repeat: hip-hop classic.

Mona Lisa – Rick’s story starts off entertaining enough, as he spins a tale about a chick named Mona Lisa that he met at a Pizza Parlor.  Maybe it’s just me, but the story seems to end abruptly with Rick’s boy pulling him out of the parlor and Mona Lisa sings him “a sad good-bye” song.  It just feels incomplete, like another part of the story is missing.  I didn’t care much for Rick’s beat, so this was a pretty blah experience.

Kit (What’s The Scoop) – If you were born before 1980 you probably remember the tv series, Knight Rider, starring David Hasselhoff as Michael Knight, who drove a talking black Trans Am, named Kitt (if your were born after 1980 you’ll only remember the bad remake of the original series a couple of  years ago, that quickly crashed (pun intended) and was forgotten).  Ricky D borrows Kit (but was too lazy to make sure he was spelling his name right) to assist him on his mission to get his stolen imaginary crown back. Yeah, I know it sounds bad, but it actually sounds worse when you listen to it.  Unfortunately, even the Bomb Squad produced track couldn’t save this mess.

Hey Young World – This might be my favorite Slick Rick song of all time.  Rick comes across as the wise old man sharing his wisdom with the youth, warning them of the consequences of bad decisions (maybe he should have took some of his own advise?).  Rick’s heavy drums and piano samples create the perfect back drop for his lyrical gems, giving it a semi-dark feel.  This is a timeless masterpiece.

Teacher, Teacher – Over yet another Bomb Squad produced track (that also doesn’t sound remotely close to anything you’d here on a PE album) Rick plays the teacher, schooling all his students who are bitters and fake rhyme writers. Rick has talked an awful lot about bitters, which makes me wonder…was Ricky D taking shots at Dana Dane?  He, like Rick, also rapped with a British accent (which had to be fake since the boy was born and raised in Brooklyn) and sounds remarkable similar to Rick.  Rick sounds pretty good, talking shit regally the way only Ricky D can do, but the beat did nothing for me.

Lick The Balls – Rick drops his regalness, and just talks shit, and at times manages to sound slightly threatening. The Bomb Squad provide an effective funky track to back up Rick’s rhymes.  One minor issue I have with Rick is at times his lyrics are not clearly articulated (this would ring more true on his later work, where some of his lines sound like he’s speaking a foreign language), making for a challenging listen (if you’re of the few who actually listens to lyrics and not just the beat) .  This song is a prime example of that issue.  All in all , this was a decent way to end the adventure.

For the most part, The Great Adventures of Slick Rick lives up to its title, taking the listener on a fast paced ride, filled with fun, somber, and ridiculous stops along the way. Slick Rick is arguably the greatest storyteller hip-hop’s ever seen, and most of that can largely be credited to his work on this album alone.  While there are a few skippable moments, overall this is still a very good effort.

Did The Source Get It Right?  You probably already no answer to this question based on the usage of “for the most part” and “a few skippable song” in the last paragraph.  There are 3, maybe 4, songs that run from average to down right weak, so I have to go with a 4.5. 

-Deedub