Time Is Illmatic

Shawn Moltke, better known as M.C. Shan, is best remembered for his battle with KRS-One and Boogie Down Productions back in the late eighties.  Most forget that a few years before that legendary feud begin, Shan was signed to MCA Records back in 1985, where he would release one single, ” Feed The World” (which I’m sure you never heard of), before he was dropped by the label (KRS-One also makes mention to this on BDP’s song “South Bronx”).  But Shan had determination, and a cousin who happening to be an up and coming producer with a label, named Marley Marl.  Marley signed Shan to his Cold Chillin’ imprint, linking Shan with Marley’s Juice Crew line-up, and similar to Shan rap career, the rest is history.

In 1987 , Shan released his first single on Cold Chillin’ “The Bridge”, which was Shan’s declaration that hip-hop originated in Queens (the single also had a b-side song title “Beat Biter”, but I’ll get to that later).  KRS-One disagreed with Shan’s theory and believed that the Bronx was responsible for hip-hop’s birth, which led to Kris firing shots at Shan on “South Bronx”, and the dis record that many believe stifled Shan’s career, “The Bridge”.  Before the beef was squashed, the two emcees would capitalize on the feud by inking an endorsement deal with Sprite, (I recall one commercial with the two emcees in a boxing ring with mics, metaphorically duking it out…if my memory serves me correct).

Though Shan clearly lost the battle with Kris, he still managed to release three solo albums, the last one, Play It Again, Shan, was a frisbee, but the first two, Down By Law and Born To Be Wild were pretty well received by the listening public. I don’t own nor have I ever heard Down By Law or Play It Again,  in their entirety, which means Born To Be Wild is the only MC Shan album I own.

With Marley Marl on the beats and Shan on the mic, let’s see how Born To Be Wild 20 plus years later.

I Pioneered This – Shan starts things off by silencing his naysayers who thought or excused him of falling off.  How could he fall off when he helped pioneer this? (that’s the rhetorical question Shan asks and doubles as part of the hook).  During the second verse there is a large portion of the verse that is censored.  It sounds like Shan may have referenced another emcee’s name or song (maybe Kris Parker?).  Shan’s Transformers reference was pretty funny as he mispronounces Decepticons as Deceptigons (at least it was funny when I heard it).  Other then that small mishap, Shan sound pretty good over this decent Marly Marl track.

Give Me My Freedom – This was also included on Marley Marl ‘s In Control Vol.1 (this version run’s a little longer than the mix on In Control, which means you get to hear Shan go on an explicit and very unnecessary rant at the end of the song), and the overall theme (and hook) of the song still makes no sense to me.

So Def – Over a funky Marley beat Shan takes the time, over the course of three verses, to share with us how def his rhymes are.  Shan’s probably not in anybody’s top 10 but he’s a solid emcees. Yes, the term “def” dates this song quite a bit, but it still results in a decent listen.

Back To The Basics – Shan takes this one back to the old school (as in the old school, before this old school, did I loose you?) breaking out the simple deliver  that was used by most emcees in the early 80’s (i.e. Sugerhill Gang or Kurtis Blow). Marley Marl’s track uses a bare drum pattern to match Shan basic rhyme scheme, resulting in a solid concept record, and a fairly decent listen. 

Go For Yours (‘Cause I’m Gonna Get Mine) – Most of Shan’s lyrics are what I like to call community based: you can take the lyrics from any song and put them to any beat and hook, and you would probably end up with the same results (this isn’t necessarly a dis, nor is it a compliment).  This might be one of the few songs (as well as the previous song) where this doesn’t apply.  Shan’s content is little more meatier than what we’ve heard up to this point.  He even throws in a little “5 percent theology” for good measure (the second verse sound like something Rakim or Nas would have written).  Marley’s eerie sample works well under Shan’s tight rhymes.  This was very nice.

Born To Wild – Remember when I said its a disappointment when the title song of an album sucks?  Unfortunatley, this falls into that category.  Marley Marl’s beat is all over the place, and Shan’s annoying hook (Wild! Wild!) only makes matter worse.  Shan takes a shot at The Beastie Boys and a blatant shot at  LL.  I’m not sure what started the beef he had with the Beasties (or if he really had a beef) but here’s a little history on the beef with LL: The b-side song on the”The Bridge” single, “Beat-Biter”, was a dis record aimed at LL Cool J, which excused LL of stealing Marley Marl’s beat and using it on “Rock The Bells”. LL, who was already a bona fide star in 88′,  never responded (on wax, at least), which is a good thing for Shan, because a response record might of ended Shan’s recording career after his debut. Oh yeah, the song, it sucks.

She’s Gone – Speaking of LL: Shan takes a stab at the genre LL created: the rap ballad, or in Shan’s case, spoken word ballad.  Yes, it’s cheesy.  I’m not sure if that’s Shan singing on the hook (it sounds like it could be him), but who ever it is sounds horrific (seriously, it’s that bad).  Marley’s jazzy piano sounds a lot better than the L.A. Posse’s Casio keyboard sound on “I Need Love”, but not good enough to make this worth listening to.  After hearing this I understand why she’s gone.

Juice Crew Law – Over a vintage Marley Marl beat Shan breaks down the Juice Crew Law, and what will happen if you choose to violate this unwritten law (the penalty usually results in broken jaws or some other form of violence).  Marley’s beat swallows Shan up, and his delivery sounds rushed as he tries to keep pace with the beat, making his lyrics indistinguishable (for all I know, he could have been rapping in Chinese).  

Words Of A Freestyle – Marley used his signature horn sample for this Shan “freestyle”.   During the hook Shan suffers from a slight case of amnesia, proclaiming he’s “never cursing”, completely dismissing the “F” bombs he dropped at the end of “Give Me My Freedom”.  Despite the generic song title, this was a decent listen.

They Used To Do It Out In The Park – Shan reminisces about where the hip-hop subculture was birthed, the park jams (he manages to sneak another “F” bomb in on this one, further adding to false doctrine).  Ghostface Killah recently used this song’s hook as the hook on his song “Da’ Park” (which was taken from a portion of Shan’s line from “The Bridge”).  Shan’s rhymes are okay, but they tend to jump around too much, leaving incomplete thoughts all over the place. I’m still trying to figure out why the last verse was tacked on, it has absolutely nothing to do with the topic at hand.

Never Rock A Party – Marley uses the same Otis Redding sample used on EPMD’s “Steve Martin”, for the backdrop (which sounds a whole lot better than EPMD’s take on it) on Shan’s closer cut.  Shan sounds really good on this laid back joint, unintentionally (I assume) pulling a Vanessa Williams, and saving the best for last.

Born To Be Wild plays out similar to Shan’s career: it shows potential, but never walks in it consistently.  Marley’s beats are more often than not enjoyable, and Shan, who is definitely not a top-tier emcee, is pretty decent on the mic.  One would think this equation would add up to a hot album, but instead it’s only lukewarm.  Other than 2, maybe 3, goods songs,  the rest of Born To Be Wild is chalked full of a bunch of average songs (minus the train wreck that was “She’s Gone”).  While many paint KRS-One as the source that caused Shan’s faltered rap career, it’s might be more approprieate to look at Shan’s mediocre output as the true culprit. 

-Deedub

Cedric “Ced-Gee” Miller and “Kool” Keith Thornton met while attending the same high school in the Bronx back in the early eighties. Both Bronx native emcees had aspirations of becoming solo artists,  but in an effort to save a buck, the two started recording together. They would eventually add Ced’s cousin Maurice “Moe Luv” Smith as the deejay, and Trevor “T.R. Love” Randolph as hypeman/bodyguard/cupbearer, and called themselves the Ultramagnetic MC’s. A few years later they would sign to Salt N Pepa’s label home Next Plateau, and in 1988 released their debut album Critical Beatdown.

The majority of Critical Beatdown was recorded at the Ultra Lab, better known as Ced’s momma house. This is where Ced would loop up samples from he and Keith’s record collection and create the backdrops for he and Keith’s scatterbrain-slash-battle rhymes.

The album received much critical acclaim (including The Source, which rewarded it with a 5 mic rating years after its release) for its groundbreaking productions and Keith’s unique rhyme schemes and unusual lyrical content. But as the question always is, did The Source get it right? Let’s give her a spin and find out.

Watch Me Now – Right from the jump Kool Keith displays his abstract rhyming style and wit and effectively steals the show over this funky Ced-Gee track. Nice start.

Ease Back – You’ll recognize the break beat used during the sample from Public Enemy’s “Rebel Without A Cause” (which makes this the third consecutive write-up that is somehow connected to that same song).  Ced-Gee and Kool Keith share verses over a great Ced-Gee beat.  But the obvious star of this show is Kool Keith, who rips his verse to shreds. This is hot!

Ego Trippin’ – This is arguably the Ultramagnetic MC’s most popular song.  The drum beat reminds me of the Gangstarr/Nice N Smooth duet “Dywck”. Kool Keith is in usual form, coming off like a mad scientist turned rapper (which is a compliment), while Ced also sounds pretty solid over his simple but infectious beat.

Moe Luv’s Theme – This is an ode to Ultramagnetic’s in-house deejay, Moe Luv. Over Ced’s disco-ish beat, Kool Keith takes two verses to wax poetic about his deejay. It is what it is, not terrible but far from great.

Kool Keith’s Housing Things – Over a beat that samples the same elements used on Big Daddy Kane’s “Raw”, Mr. Thornton goes solo and completely obliterates this one! I wonder if the comment about “fish not being his favorite dish” was a shot and Big Daddy Kane or Rakim (Keith has stated in interviews that some of his lines were written to rival BDK and Rakim’s lines). I don’t have any prove, I’m just speculating. This was probably the strongest song on Critical Beatdown, to this point.

Traveling At The Speed Of Thought (Remix) – Kool Keith puts on his psychopathic persona, as he and Ced share the mic over this rock tinged track. While it’s not the best song of the night it’s still a solid effort.

Feelin’ It – By 1988 standards, Ced’s beats were way ahead of their time (he is grossly underrated as a producer). He and Keith take turns catching wreck on this one. You can tell both guys are having fun, especially Keith, since some of his rhymes are pretty comical. Another solid effort from team Ultra.

One Minute Less – Ced gets a one verse solo joint, and gets less than 1 minute to spit on “One Minute Less”. Ced’s rhymes were solid but the beat was pretty messy… but thankfully this song is less than 2 minutes, so it bearable.

Ain’t It Good To You – I forgot about this track, Ced’s beat is completely bananas!  But the real star of the show is Kool Keith, whose last verse is arguably his best verse ever.  I’m utterly amazed why Kool Keith isn’t give the respect of a Big Daddy Kane, KRS-One, or Rakim.  But I’ve never heard any of his later output, either. This is a certified banger!

Funky (Remix) – Ced might have stood toe-to-toe with Keith on this one, although Keith gets two verses to Ced’s one.  The track sounds kind of skeleton, but the duo’s lyrics sound great over the heavy drum beat, so it still works.

Give The Drummer Some – The late Paul C (Eric B and Large Professor’s mentor)provides the funky backdrop  (I love the drum solo sample added in on the hook for more effect) for Ced and Keith to talk shit over. Another hot one.

Break North – This track sounds similar to Public Enemy’s “Night Of The Living Bassheads”. Keith’s last verse manages to sound scientifically hilarious, as the mad scientist steals yet another show.

Critical Beatdown – Kool Keith is obsessed with the human brain. He makes at least 1000 references to either eating, cooking, exposing, removing, or drowning some inferior emcee’s brain on the album, including this title song. Unfortunately the beat is empty and falls a bit flat, which is always disappointing for a title song.

When I Burn – Keith gets another shot to go dolo and he doesn’t disappoint. But that squeaky siren loop becomes annoying after a few cycles through. Good thing this was short.

Ced-Gee (Delta Force One) – Ced Gee saves the best beat of the album for himself. He sounds decent over this smoothed out track, but I’m left wondering how Keith would sound over this buttery beat.

My copy of Critical Beatdown is a remastered copy that contains the following bonus tracks:

Funky (original 12″ version) – I prefer the beat on this version over the remix that’s included on the proper album, mainly because it incorporates more of the Joe Cocker “Woman To Woman” sample than on the remix. Ced and Keith use different verses than the ones on the remix.  While Keith’s verses sounds solid I prefer his verses used on the remix, and Ced sounds terrible, turning in a very amateurish performance. If you take the beat from this version and put the verses from the remix, you’d have the perfect version of “Funky”. But they didn’t, so we don’t, so it is what it is, my man.

Bait (original 12″ version) – The beat samples from, arguably one of the most sampled songs in hip-hop, Bob James “Nautilus”, which I believe was created to be a promo  for the legendary DJ Red Alert radio show (which would explain Ced and Keith’s shout outs to him, and his trademark, “yeeeeaaah”, all over the track).  Keith sound solid as usual but Ced sounds sloppy and rough around the edges.  This must have been some of their early material (which is probably also true for the original version of Funky).

A Chorus Line (featuring Tim Dog) original 12″ version – Before Tim Dog fired the first shot that would start hip-hop’s civil war, he was the Ultra crew cupbearer.  They were so pleased with his services that they let him set things off on this posse cut (he would later reuse a portion of this verse for his Compton dis record “Step To Me”).  T.R. Love finally shows up, only to turn in a very forgettable verse (which is probably why this song was excluded from the proper album, and the reason he doesn’t show up on any other song on the album).  Of course Ced-Gee and Kool Keith show up and turn in solid verses, but the beat is very meh.  It was probably a good idea to leave this one off the proper album.

Traveling At The Speed of Thought (Hip-Hop Club Mix) – Keith and Ced use the same verses as the remix, in addition to a new second verse from both emcess as well (Keith’s verse is sick, well worthy of a listen).  I’ve never been crazy about house music, but I actually like this house beat more than the beat used on the remix.  That said, the first remix fits in better with the rest of the proper album. I’m interested to hear the original version of this song.  If anybody has a link to it, hit me up in the comments.

Ego Trippin’ (Bonus Beats) – Short instrumental excerpt of the original version.

Mentally Mad (original 12″ version) – This is an early demo, which is apparent based on the quality of the mix.  Keith and Ced start the song of yelling a la Run-DMC, but once they settle down they kill this dope instrumental.  If they cleaned up the mix, this would have been a nice addition to the proper album.

Critical Beatdown may be the most underrated album of all time, which shouldn’t be a surprise when you consider Kool Keith’s rarely mentioned in discussions of elite emcees, and Ced-Gee’s name is even less heard when discussing elite hip-hop producers.  The production is consistently dope (with a few average beats here and there ) and Kool Keith’s oddball-slash-abstract rhymes are all spaciously entertaining (they’ll keep you with your finger on the rewind button: psychosis has never sound so good).   I’ve never heard the rest of their catalog, but I’m definitely going to start tracking it down.

Did The Source Get It Right? Yes! Keith’s rhyme schemes are sick on every song, and while some beats are not as great as others, there isn’t one point where you’re compelled to hit the skip button.  The Source and I finally agree on an album.

-Deedub

In the past few months I’ve noticed I can’t turn on the radio, or watch BET, MTV. or VH1, without hearing or seeing the barbie doll gimmick known as Nicki Minaj.  Seemingly overnight she has become the female equivalent of Busta Rhymes, making cameos on everybody’s song, which probably has more to do with who she rolls with opposed to talent.  Don’t get me wrong, the girl has mad energy (and personalities), but no substance. I guess they don’t make em’ like MC Lyte anymore.

MC Lyte begin rapping at the age of 12, and under the tutelage of her brother, Milk of Audio Two (remember “Top Billin”?), she honed her skills and eventually got the attention of First Priority Records (it probably helped that her big brothers were already signed to the label).  She signed with First Priority, and in 88′, at the tender age of 17, released her debut Lyte As A Rock, becoming the first female rapper to release a full length album.

Lyte kept things in the family as Audio Two would be responsible for the bulk of the production on Lyte As A Rock (Prince Paul has one production credit on the album as well).  With her brothers on the boards, DJ K-Rock on the wheels of steel, and microphone in her hand, Lyte was ready to show the world how a lady emcees. Let’s listen and see how well her blueprint holds up.

Lyte Vs. Vanna Whyte – Over a go-go-ish track, DJ K-Rock cuts vocal samples from Wheel Of Fortune’s Pat Sajack.  This was nothing more than a useless album intro…next.  

Lyte As A Rock – Over a simple Audio Two produced track Lyte explains the simile that makes up her emcee name and album title.  Lyte’s rhymes are solid but her delivery sounds a bit rushed.  This was okay, I guess.

I Am Woman – Don’t let the title fool you.  No, this is not a feminist-slash-Maya Angelou “Phenomenal Women” song.  It’s just Lyte talking shit over a bassy King Of Chill beat.  Lyte does a pretty good job of mastering the ceremony. This was cool.  

MC Lyte Likes Swingin’ – Over this Prince Paul produced track MC Lyte expresses how much she loves to swing (this is a metaphor for “swingin’ on emcees” as oppose to the other meaning of the term…get your mind out the gutter, freaks!).  I love the sample Paul uses on the intro, too bad he didn’t incorporate it throughout the song. Lyte is a solid emcee but so far the production is a bit uneven. 

10% Dis – MC Lyte, as the kids say nowadays, goes hard on this dis (10%, that is) record aimed at her arch nemesis Antoinette. Audio Two produced the track, which makes sense since the song uses the same beat from their classic “Top Billin”.  But on the other hand it makes Lyte sound like a hypocrite since her biggest beef with Antoinette was her stealing a beat. Inspite of the recycled beat this is still the strongest song of the evening up to this point.  

Paper Thin – King Of Chill gets another stab at a production credit, and this time he doesn’t disappoint.  Over a track that sounds similar to Eric B & Rakim’s “Mahogany”, Lyte discusses her philosophy and rules for dating (no kiss until the 5 or 6 date huh? Lytes sounds like a nun compared to Lil’ Kim ). Lyte’s last verse is over at about the two-minute mark, but the instrumental unnecessarily plays on for another 2 minutes.  Other than that minor mishap, this was pretty dope.

Lyte Thee MC – Over this Alliance produced track, Lyte displays why she is considered one of the best female emcees of all-time.  Alliance’s simple but effective drum beat works well underneath Lyte trash talking. 

I Cram To Understand U – Lyte uses this Audio Two track to tell a story about her man, whom she turns a blind eye to his infidelity, illegal business (street pharmacist), and deadly habits, rather than confront him on it.  Lyte stays true to her claim on “Paper Thin”, as she doesn’t get intimate with Sam until a month of dating (way to dot those I’s and cross those T’s, Lyte).  Audio two’s beat gets lost in the shuffle (I just listened to it and can’t remember anything about it), but Lyte’s rhymes are brilliant.

Kickin’ 4 Brooklyn – Lyte reps her borough over this bouncy and bassy Audio Two beat.  As usual, Lyte is in full emcee mode, telling stories of different parties and blocks she’s rep in Brooklyn.  Solid lyrics, decent beat, this was an enjoyable listen.

Don’t Cry Big Girls – No, this isn’t a Lady of Rage solo joint (although you have to admit that would have been a clever song title from the afro-puffed one).  Instead Lyte uses this Audio Two track to talk more shit.  This was not great by any means, but it’s short enough to make it tolerable.  And with that were done.

Lyte As A Rock is a decent start to what would turn out to be a solid career for MC Lyte.  Lyte, who was very much a lady, wasn’t afraid to express her sexuality without sounding sleazy (well at least early on, some of the stuff she released later on when signed to So-So Def was suspect), and could grab her balls and mix it up with the fellas as well.  Lyte was still rough around the edges, which is pretty much expected from a 17-year-old, but she shows potential, and even shows signs of greatness (specifically on “I Cram To Understand”).  My biggest issue with Lyte As A Rock is the inconsistent production, as there really isn’t one great beat, just a few good ones and the rest average to meh (I wonder what the songs would sound like with Marley Marl’s beats behind them).  The fact there are only 10 songs (9 if you exclude the useless intro) softens the blow, making Lyte As A Rock a fairly decent listen.

-Deedub

In 1986 Run-DMC released their 3rd album Raising Hell, which would go on to be the trio’s most commercially successful album, selling over 3 million copies.  The success of Raising Hell can largely be credited to the addition of the former rocker turned hip-hop producer, Rick Rubin, who would help fine tune Run-DMC’s hip-rock formula, that they dabbled with on their second release, King Of Rock. In 1988 Rick left the Def Jam camp, and with the exception of one track, left Run-DMC to fend for themselves for beats to back their rhymes on their fourth release Tougher Than Leather.

I’ll be honest.  I respect what Run-DMC did for hip-hop (hence the reason for the purchase of this album), but I’ve never been a huge fan of their music.  This is partial do to the fact that I was a young buck when they were in their prime, but more so because neither emcee was ever a great lyricist (Run was obviously the more polished emcee so you can only imagine what I think about DMC).  Needless to say I’m not too excited about this review, but maybe a fresh listen to an old album will surprise me.

Run’s House – Those of you under 25 who are not familiar with Run-DMC catalog will probably only recognize this as the theme to MTV’s reality show of the same name, based around Run’s family.  Over an uptempo and phat drum beat, Run and D welcome the listener to tonight’s show. I loved the horns used at the end of the track, would have been interesting to hear them incorporated throughout the song.  Since the song title suggest this would be a Run solo, I’ve always wondered how D felt about rapping over a song that was pretty much dedicated to Run. It’s obvious who the main emcee is, but D (surprisingly) matches Run’s energy and this turns out to be an enjoyable listen.

Mary Mary – Run and D craft a tale, based around The Monkees song of the same name, about a crafty honey, that either they both were involved with (which could be a true story, as I’m sure they’ve shared their share of honeys in their rock star days) or two different chicks named Mary. Regardless of the logistics, both Joey and Darryl need a hug from “Mary”.  The lyrics are forgettable, but Rick Rubin’s only production credit on Tougher Than Leather is a gem that sounds better today then it did 20 years ago.

They Call Us Run-D.M.C. – This was boring and very forgettable.  I just listened to it and the only thing I can remember about it is the stuttering rhyme style (which wasn’t impressive).  But my opinion may be influenced by the fact that I’m writing this while Caribbean videos are playing on the tv in the background taking my attention away from this write-up.  Hey, it’s not my fault Jamaican girls are hot!

Beats To The Rhyme – This might be my favorite Run-DMC’s song of all time, mainly do to the bangin’ track.  Run, and even D, sound nimble on the mic (I love Run’s boast about “clockin endless ins”), and they sounds even better when Jay adds in vocal scratches throughout, making it feel like a true group effort.  This is hot!

Radio Station –  “Beats To The Rhyme” transitions seamlessly into this song, which  is Run & D’s ode to the Radio Station… well, not really but will roll with it. Interestingly, to me at least, this is the second write-up in a row to sample Chuck’s line from “Rebel Without A Pause”.  The beat is serviceable, and Run proves that this is indeed his house, rapping circles around his partner in crime (which shouldn’t be a surprise to those familiar with the group’s catalog).  Thank mainly to Run, this was a decent listen.

Papa Crazy – I have over 800 hip-hop albums in my collection, with songs that cover just about every topic (some topics covered way too often: ie money and hoes) .  It was easy for me to put together a Mother’s Day playlist on my Ipod, celebrating the love and appreciation rappers, not name Eminem, have for Mom Dukes.  But of the thousands of songs I’ve listen to, I’m still unable to compile a suitable Father’s Day playlist.  This song is a prime example of why.  Joseph and Darryl continue the hip-hop tradition of calling out their cheating, broke, deadbeat, sperm donor daddies.  The beat samples The Temptation’s “Papa Was A Rollin’ Stone”, and walks a fine line between intricate instrumental work and intentional pop appeal, meaning it works depending on which side of the bed you wake up on the day you’re listening to it.  Happy Father’s Day!

Tougher Than Leather – The boys bring their signature rock guitars to the party for this one.  While there are a few interesting licks here and there, overall the track didn’t move me, which also rings true about Run and D’s rhymes (which end up amounting to annoying yelling).  It’s always disappointing when the title track of an album’s a let down.

I’m Not Going Out Like That – One thing I’ve noticed throughout Tougher Than Leather is Joseph and Darryl’s attempts to update their rhyme schemes and deliveries to match the new jacks of the time (i.e Rakim, Big Daddy, Kane, etc.), this might be their most glaring attempt.  Run (who more often than not can pull it off) and D sound terribly uncomfortable when delivering there rhymes over this forgettable beat.

How’d Ya Do It Dee – In an effort to even the score for “Run’s House”, we get a song title that would make one assume it’s a Darryl Mack solo joint.  “But just like “Run’s House” both emcees get a shot at the mic (not sure why they didn’t just give each emcee his own song, or at least change the title of these two songs to something more group orientated).  The beat’s minimalism kind of works and this turns out to be an okay listen.

Miss Elaine – Over another rocked-out beat, Run and Darryl share a fantasy every  teenage boy can relate to: hooking up with that hot teacher you use to have wet dreams about.  Joseph and Darryl’s rhymes are entertaining enough to hold your attention, making this a fun listen (at least to the fifteen year old boy who still lives inside of me, and can still see my 8th grade french teacher Ms Berglund in all her short-skirted-double D glory…I think I need a moment).

Soul To Rock And Roll – This might be the only time I’ll ever say this: Darryl actually sounds better on the mic than Run, largely do to Run screaming his lyrics to the point you have no idea what he’s saying.  But the beat is so boring you’ll forget everything about this song.  Sorry, Darryl.

Ragtime – Over a lighthearted (and borderline cheesy) instrumental Run and Darryl deliver playful lyrics (this sound like something Fresh Prince would have done) that match the beat perfectly.  The storyline was boastfully comical, making this a fun listen and a decent way to end the show.

Tougher Than Leather is plagued by inconsistent beats and hit or miss rhymes.  There are 5, maybe 6, decent to good songs on the album, resulting in an overall average listen.  Sadly, this would be the last half decent album from the trio (their last three albums found the boys in black suffering an identity crisis, as they chose to follow the trends in an attempt to stay relevent) before they would fade into hip-hop obscurity. But thanks to the reality tv phenomenon, Run was able to resurrect his celebrity status decades later.

-Deedub

Those of you who read this blog on a regular basis already know how I feel about Ice-T’s debut album Rhyme Pays, but for those who don’t:I thought it pretty much sucked.  Despite the amateur rhymes and lackluster beats, Rhyme Pays was a commercial success (it earned a gold plaque), which helped Sire to believe in Tracy, and gave him a chance to redeem himself on his sophomore effort Power.

Power would use the same formula as its predecessor: Afrika Islam on the boards and Tracy on the mic spinning cautionary tales about the pros and cons of street life.  But this was 88′ and Tracy was a year older (which would have made him 62 at the time), so maybe he grew wiser and tighter on the mic.  Would Tracy have better success this time around?  Let’s find out.

Intro – Pretty stupid intro: dude A brags about his new Ice-T tape, so dude B who he’s bragging to get jealous of dude A’s tape.  But instead of just dropping $10 to buy his own copy, he does the logical thing: shoots dude A and takes his copy (both voices are Ice-T, so it sounds like he’s suffering from split personality disorder and just shot himself) – WTF?  Well, at least it’s a relatively short intro.

Power – Over a funky horn sample Ice-T comes out determined to make his mark, and he sort of does a good job.  I’ve always thought Ice-T had decent lyrics but his flow always sounded a bit off, and this song is no exception.  He uses this title song to illustrate the different forms of power (the verse about the power that lies between woman’s legs was pretty deep). Pretty funny to hear him refer to his own songs as just okay, in the last verse. In a genre full of macho posturing, it’s unusual to hear an emcee come off that humble (for one line, at least).  This was a nice start to the show.

Drama – Tracy plays the role of a thug involved in the underworld, and illustrates the consequences of the lifestyle.  The beat sounds similar to EPMD’s “Get Off The Bandwagon” with a little cheesy Pac-Man sound effect that nearly ruins the song. I love the detail of the final verse:Ice-T’s character reflects on the choices he’s made and the ones he should have made to avoid the traps. Ice-T gives a shuttle message without coming off preachy. This was nice, Tracy. 

Heartbreak – Why this song is called “Heartbeat”, I’m still trying to figure out.  Tracy spits two solid verses over a, simple but nice, Afrika Islam beat. Even his delivery sounds fluid on this one. My only gripe is his third verse, as he gets lazy and repeats verse one. Other than that, this was pretty dope (yeah, I said it!)

The Syndicate – Tracy invites Syndicate posse members, Donald D & Hen-Gee, to the party. This was a good idea for Tracy, since compared to his guests he sounds like Rakim. Sarcasm aside, Ice-T calls LL out on a pretty clever rhyme in the middle of this song, which to my knowledge would be the earliest recorded jab (at least blatant jab) in their verbal feud.  Afrika Islam’s beat has a funkadelic vibe to it, which was decent enough.  Overall this was okay, thinks in large part to Ice-T’s disses.

Radio Suckers – Since all he doing is spitting reality, Tracy goes after radio programs that refuse to play his joints on the air.  Ice-T (who would be on the frontlines of the freedom of speech controversy that followed a few years later) even makes a sensible suggestion: if you can bleep Dougie Fresh’s “La De Da Di” and play it on air why can’t he get a bleep on his songs?  Ice-T is not the greatest rapper by any means, but you have to give him his props when it comes to paying attention to detail and delivering soild content. Over a better beat this might have been a certified classic.

I’m Your Pusher – Afrika Islam uses Curtis Mayfield’s “Pusherman” from the Superfly soundtrack to create the funky back drop for Tracy, who creates a metaphorical classic.  Ice waxes poetical as he compares his rhymes to drugs, and does a great job bringing it all together, which shouldn’t be surprising since he “checks his lyrics close, like with a microscope”.  By the way, I love the shuttle shot he takes at LL near the end.  This is a bona fide classic. 

Personal – Tracy’s in straight battle mode for this one.  Islam brings a hot guitar sample over a hard-hitting drum beat for Ice – who sounds pissed – to spit flames on (I’m pretty sure the final verse was meant for LL).  This one lives up to its title, making it one of the best songs on Power.

Girls L.G.B.N.A.F. – Tracy uses a weak Islam beat to get his “misogyny on” (that shouldn’t come as a surprise after seeing the album cover, giving a new meaning to front and back…but I’m not complaining, though).  It sounds like it may have been recorded during the Rhyme Pays days.  For those who are curious, the acronym is an invite to all big butt girls to get butt naked and…I’ll let you fill in the rest.  Ice-T sounds like a x-rated Fresh Prince on this one. This demo should have been left on the cutting room floor, it sucked.  

High Rollers – Over a slick “pimped out” Islam beat, Tracy tackles the lifestyle of those who obtain fame and fortune the illegal way.   Ice-T always sounds at home over laid back tracks, where he can lay in the cut and ride the beat, bringing a conversational tone which holds the listener’s attention. Ice-T, who always does a great job with detail, does a great job of painting a vivid picture of the ups and downs of the criminal life, without sounding judgemental (he puts it best “I’m not here to tell you right or wrong, I don’t know which side of the law you belong”).  He comes across as a wise sage. This was brilliant!

Grand Larceny – Tracy pulls out the metaphor idea, again.  This time he compares grand larceny to his ability to steal a show.  Kudos for the concept, but it’s poorly executed, thanks to Tracy’s sloppy delivery and a weak beat.  Props for trying, Tracy.

Soul On Ice – Tracy tries his hand at spoken word, and spins another cautionary tale about living the fast life.  This would have been a solid way to end Power…

Outro – But instead the two characters from the intro re-emerge on the outro, which is silly and pretty useless.  But like the intro its short, so I can live with it.

1988 saw many important hip-hop releases, but one of the most underrated albums of 1988 has to be Ice-T’s Power (and not just for the album cover: although, Darlene’s bikini is worth the price of admission).  With the exception of “L.G.B.N.A.F.”, Ice-T – as Mos Def would say – “scrutinizes his literature from the large to the miniature” – crafting witty cautionary tales while paying microscopic detail to each line. Yes, Tracy does struggle with breath control and a sloppy delivery at times (specifically over uptempo beats), but these shortcomings are forgivable, thanks to solid song ideas, lyrics, and production from Afrika Islam.  Power may not be as groundbreaking as Straight Outta Compton, but pound for pound is a much better album then the latter (yeah, I said it!).  Power is a solid effort from, in my opinion, one of hip-hop greatest minds.  What a difference a year makes.

-Deedub

Once upon a time (in the mid eighties) in Queensbridge, NY, there lived a deejay named Marlon Williams.  In the early eighties Marlon was co-host (along with Mr. Magic) of one of the first rap radio shows, Rap Attack, on the legendary station WBLS.  He would later try his hand in production, and in 1985 would produce a song for his cousin MC Shan, called “The Bridge”, which would be the first blow in what would become the legendary feud between the Juice Crew and KRS-One.

Marlon, who original went by the alias NYC Cutter, thankfully, change his name to Marley Marl, and would go one to co-found Cold Chillin’ Records, and put together a crew of formidable emcees called the Juice Crew (which just made me realize,  I don’t own any of Biz-Markie’s albums…interesting).   After producing releases from MC Shan, Biz Markie, and Big Daddy Kane (all on his Cold Chillin’ imprint),  Marley decided to release his first compilation album in 1988, In Control Vol. 1.

In Control Vol. 1 is a 10 song compilation produced entirely by Marley Marl with songs from Juice Crew members: Big Daddy Kane, Kool G. Rap, Masta Ace, Biz Markie, MC Shan, Roxanne Shante, Craig G, Tragedy aka Intelligent Hoodlum, and unofficial member Heavy D.

Will an album produced by one of hip-hop’s best producers with contributions from legendary Juice Crew emcees live up to its potential?  Let’s find out.

Droppin’ Science – Craig G opens the show over a vintage and funky Marley Marl track, turning in 4 solid verses.  I guess when you run with great emcees such as Big Daddy Kane and Kool G Rap it’s easy to get lost in the shuffle, which is a shame because Craig G is a pretty formidable emcee himself (although his catalog won’t really support that claim).  Nice start to tonight’s show.

We Write The Songs – This is a Biz Markie – Heavy D duet, which I must say is an unusual collaboration. Biz, whose better known for his comedy as oppose to his lyrical prowess, actually sound pretty decent over Marley’s drunken production (the sing uses the same sample used in EPMD’s “Jane” from Strictly Business). Heavy D, whom I’m sure isn’t in anyone’s top ten, even sounds serviceable on this one (he even gives a shot out to Coca-Cola whom he would eventually make a few dollars off of endorsing Sprite).  While this isn’t a great song, it’s mildly entertaining.

The Rebel – A young Intelligent Hoodlum, also known as Tragedy, gets a chance to talk his shit on the mic. I think I may have found the source material for the title of the greatest hip-hop album off all time (and the name of this blog) in this song.  While he mostly does a solid job emceeing, he does show a few suspect moments: according to Tragedy you won’t find the words in his vocabulary in the dictionary (does that mean his vocab is limited to just slang?), and apparently his biceps pulsate in his lungs (WTF?). Then things get really sloppy as his final verse is muted half way through his rhyme, and then a few seconds later he reemerges to shout out his people.  Probably should have taken a little more time to clean this one up, Marley.

Keep Your Eye On The Prize – Marley Marl invites a young Master Ace to the party, to record what I’m pretty sure is Ace’s first official release.  Master Ace (who is severely underrated and often forgotten) turns in solid verses as he keeps it positive, encouraging the listener to avoid the snares the inner-city may lay in your path and set goals (he also manages to mix in a little shit talking for good measure).  Even more so than Craig G, the greatness of Big Daddy Kane and Kool G. Rap, have hindered the respect that Master Ace, who is a hip-hop legend in his own right (and arguably has a stronger catalog then both BDK and Kool G) is due.  Marley’s beat works well under Ace’s cerebral rhymes, making this an enjoyable listen.

The Symphony – This is arguably the greatest posse cut of all-time.  Over a funky piano sample, Master Ace and Craig G warm things up and for Kool G Rap, who completely leaves the mic in flames; and Kane somehow manages to hold the burning mic in hand and destroy it before it completely turns to ashes on the booth floor. G Rap and Big Daddy’s verses provide a legitimate reason why Craig G and Master Ace are often overlooked, on this song. The only complaint I have with this song is the order of the verses: while Kane sounds great, the true star of this song is Kool G Rap, so it would only make sense that you save the best for last, right?  Even with that slight mishap, this is a bona fide hip-hop classic, and any true fan of hip-hop must become familiar with it, immediately.

Live Motivator – Tragedy gets a second solo joint and displays his verbal dexterity over a funky Marley beat (I love the bass line in this one).  Most forget, but the Juice Crew has a pretty strong army during it’s reign.

Duck Alert – Tragedy gets two solos, so it’s only right Craig G gets two. This time around Craig goes after wack emcees and specifically calls out the marketing genius (in my opinion) and Salt N Pepa producer Hurby LuvBug, accusing him of biting Marley’s beats (which I find ironic since the beat for this song would be bitten, chewed, swallowed, and regurgitated several times in the years that followed).  Marley’s stripped down production is the perfect backdrop for Craig’s battle rhymes. This was nice.

Simon Says – Apparently Craig G, Tragedy, and Master Ace were the featured artist for In Control Vol. 1, as this is Ace’s second solo, which evens the score at two a piece for the three emcees. Unfortunately, Ace doesn’t take advantage of his second opportunity, since lyrically and conceptially, this sucked.  Ace is only part to blame since Marley’s drum beat grows tiresome due to the fact he added nothing to it to help spice it up.  Simon says: skip this song.

Freedom – Shan shows up to the show rather late, which is surprising since Shan proclaims on this song he and Marley are as close as a shave (I’ve always wondered why Shan didn’t get a spot on “The Symphony”).  The content of the song has nothing to do with the song title, but I guess he had to call it something (this was also included on Shan’s second album Born To Be Wild, which was released later the same year).  Shan sounds decent over a solid Marley track, that’s all I got.

Wack ITT – The first lady of the Juice Crew, most popular for her feud with KRS-One, Roxanne Shante closes out the show over a wack Marley Marl track, which was completely intentional in its wackness.  Marley Marl’s track is a parity of JJ Fad’s “Supersonic”, and Shante is in full hater mode as she verbally attacks JJ Fad for putting out such a wack record, but, tries her hand at a similar record just to see if she could turn a gimmck into hit like her adversaries.  Unfortunately, it didn’t work: which led to Shante eventually giving up to the mic all together to focus on education, where she would go onto earn her bachelor’s and later a master degree, so there is a silver lining at the end of the tunnel.  Well, at least the song lives up to its name.

In Control Vol. 1 proves the old saying correct: less is more.  Marley provides 10 tracks for his juice crew to spit over, and more often than not, the songs work.   While “The Symphony” is without question the best song on the album with nothing else coming remotely close in comparison, its greatness (thanks largely to the ferocious rhymes from Kane, and more importantly, G. Rap), there are a bunch of solid songs to enjoy.  Yes, there are a few hiccups at the end, but overall In Control Vol. 1 plays out how I prefer my women: short and sweet.

-Deedub

1988 is considered by many to be the finest year in hip-hop, largely due to two important albums by two totally different groups, who ultimately covered the same ground (political and societal ills) from two different perspectives: The first, Public Enemy’s It Takes A Nation Of Millions To Hold Us Back, and a few months later, the second, N.W.A.’s Straight Outta Compton.

Back in the mid eighties, drug dealer entrepeneur, Eric “Eazy” Wright brought fledgling producer Andre “Dr. Dre” Young, inspiring rappers O’Shea “Ice-Cube” Jackson, Lorenzo “M.C. Ren” Patterson, and DJ Yella (government name, Antoine Carraby) together to form “Niggaz With Attitude”, better known as N.W.A.  They released their debut album N.W.A. & The Posse in 1987 on Macola Records (which was actually a collection of old material from N.W.A. group members as well as a few songs from some of their homies from around the way crew).  Eazy and business partner/manager Jerry Heller would join forces a year later to form Ruthless Records, where N.W.A would release their infamous album Straight Outta Compton.  

Straight Outta Compton was not only met with commercial (it sold over 3 million copies) and critical (it received 5 mics from The Source) acclaim, but it also stirred up a lot of controversy for it violent content.  The FBI even sent Ruthless Records a nastygram due to the lyrical content on “Fuck The Police”. 

But behind all the acclaim and controversy, there was the music. Let’s give her a listen.

Straight Outta Compton – The fellas don’t waste anytime with an intro but instead bust you right in the mouth with this hardcore in your face title song.  I have to admit: it’s funny hearing a “gangsta” Ice-Cube again, after his conversion to the movie director who makes family movies.  Cube and Ren sound convincing, and Eazy turns in a verse too.  This is a bona fide classic, gangsta rap at it’s finest.

Fuck The Police – Yep, N.W.A.’s  infamous love song dedicated to the boys in blue.  Ice Cube sounds sharp and Ren turns in a solid verse over Dre’s minimal production.  This song will always be remembered as the song that got the boys a letter from the FBI, informing the label they weren’t happy with the song’s content.  That has to be a first in hip-hop. 

Gangsta Gangsta -What appears to be an Ice Cube solo joint, throws in a unecessary guest appearance from Eazy E at the very end (which I’m sure was penned by O’Shea so it might as well be an Ice-Cube solo). Ice-Cube gets his “gangsta on” over this Dre produced track with the help of a funky guitar sample. Nice work, O’Shea.

If It Ain’t Ruff – Ren turns in the first true solo joint on Straight Outta Compton: but unfortunately he walks away sounding like an amateur.  Through out the song he does this thing where he said a line and then repeats the same line in reverse (a la Smooth Da Hustla), which sounds cheesy and makes you want to stab yourself in the neck with a pen, similar to what Joe Pesci did to homeboy in GoodFellas.  The empty (and boring) instrumental does nothing to help the song either.  Maybe this a foreshadow to how Ren’s solo career would turn out.  

Parental Discretion Iz Advised – This Posse cut was apparently the last song to be recorded for Straight Outta Compton based on the comment the D.O.C. makes at the intro. I love the live instrumentation, which D.O.C. sounds great over on his opening verse (love the plug for his forthcoming: nice self promotion). Dre bats second and sounds really good knocking it out the box (I’m sure D.O.C. or Cube penned his verse, so I shouldn’t be too generous with my praise).  Cube sounds sharp as usual, and Ren sounds like a completely different emcee than what we heard on the previous song (giving credibility to my previous comment on Ren’s solo career).  Oh yeah, Eazy gets a verse too.  Next to “Straight Outta Compton” this is the second strongest song on the album up to this point. Very nice.  

8 Ball (Remix) – Eazy’s solo joint: which is an ode to his choice of drink. Ice-Cube penned this one for E (as E proudly proclaims in the last verse), which makes sense when you hear him stumbles over three verses full of juvenile tales about his adventures while under the influence.  This was pretty weak.

Something Like That – Ren and Dre tag team the mic over this drowsy Dre/Yella production, which also makes Ren and Dre sound tired, and ultimately put me to sleep while listening (*wiping drool from my chin*).  Dre and Ren discuss song title ideas for this song, at the end, cementing my theory that this was probably a demo they decided to add to the album in the 12th hour. Should of left this one on the cutting room floor.  

Express Yourself – Dre handles microphone duties (though O’Shea wrote the verses) as well as the production on this song that samples Charles Wright’s classic of the same name.  Yes, this is the song that Dre denounces smoking “weed or sess” even though, a few years later smoking chronic would become his favorite pastime and be the substance that his legacy and best musical work would be bases on.  Probably their most commercially successful single and it still sounds pretty good.

Compton’s N The House (Remix) – We get our second collaboration of the night, from Lorenzo and Dre, and unfortunately the result are the same as their first attempt.  The beat is decent but both Ren and Dre’s lyrics sound dated (“wacky wack “?  Really, Dre?), and if the lyrics weren’t bad enough they rap most of the lines in unison (which has always been annoying as hell to me). This is the remix and I’ve never heard the original.  I wonder if the original version sounds any better?  

I Ain’t Tha 1 – O’Shea get his “misogyny on”, on this solo joint: and while his flow sounds choppy at times, he gives us a taste of the strong storytelling skill he would perfect once he went solo.  Dre provides a funky instrumental with a bangin’ bass line and dedicates this one to all the big booty golddigging women out there.  I would love to hear a remix, a duet with Willie D. Though it sounds a bit juvenile today, it’s still entertaining.   

Dopeman (Remix) – O’Shea scores two consecutive solo joints (I guess it not technically a solo since Eazy make a brief appearance on the last verse – but since Cube wrote his lines anyway, well roll with it).  This a remix of the same song originally released on N.W.A. & The Posse (I’ve never heard the original so I’m not sure if it just a different beat or lyrics as well – if  you have the skinny, hit me up in the comments). Cube uses this one to paint a tell about a drug dealer and the lives his occupation effects.  Cube’s blunt delivery of said subject manner, bounces back and forth between sad and funny.  The beat was decent and this turned out to be a pretty solid effort from O’Shea.

Quiet On Tha Set – Ren gets another solo joint (the instrumental sounds like the same track from his first solo “If It Aint Ruff”, just at a difference pace. I don’t remember anything Ren said on this one, other than his promise to come back over a funkier track next time, almost admitting himself that this track sucked, and it did.

Something 2 Dance 2 – This song was wrong in every way imaginable, very bad idea.  Why didn’t anyone tell these fools gangstas don’t dance?

My copy of Straight Outta Compton contains the following bonus songs:

Express Yourself (Extended Mix) – Plays as it reads, but O’Shea makes a brief appearance (hell, it’s only right being he wrote the song) as well as a short cameo from the D.O.C.  But if you never hear this version you’re not missing anything.

Bonus Beats – Skeleton instrumental for Express Yourself.  Not sure why beat is plural in the song title.

Straight Outta Compton (Extended Mix) – Other than a few extra soundbites, lyrical adjustments here and there, and a few unnecessary pauses, this plays like the original.

A Bitch Iz A Bitch – This was included on the 1989 rerelease of N.W.A. & The Posse.  Over a funky Dre beat, O’Shea get is “misogyny on” (again), on this solo joint.  I was waiting for Willie D to pop up for a verse: he would have been hilarious, considering the subject matter (listen to “I’m Not A Gentlemen” from the Geto Boys’ We Can’t Be Stopped album). Even without Willie’s assistance O’Shea’s verses are still entertaining. And with that we’re done.

Straight Outta Compton is clearly a case of image over substance.  N.W.A. grabs your attention (and even scares you) with the title song and “Fuck The Police” (which scared law enforcement); both songs helped validate their hardcore/rebellious image, which sparked the controversy that led to the commercial success of the album.   The problem is after you get passed the three opening tracks, the rest of the album doesn’t carry much weight.  “Parental Discretion Iz Advised”, “Express Yourself”, “Dopeman (Remix)”, and the comical “I Aint Tha 1”, are all solid song, but the other half is nothing but filler material : 2 which were previously released and a few that sound like unfinished demos.

Did The Source Get It Right? If you shave the album in half, then yes, you have a 5 mic album. But they didn’t, so you don’t.  I understand the influence N.W.A. had on gangsta rap and hip-hop in general, but image doesn’t define a quality album.  Regardless of how strong the singles were, there is absolutely no way you can give an album that is only effective half of the time a 5 mic ratings. Let the debating begin.

-Deedub

In 1985 Salt N Pepa, under the tutelage of producer Hurby Luvbug, made a name for themselves off the Get Fresh Crew dis record “Showstopper” (which is pretty weak: props to Dougie and Slick Rick for not responding to that mess).  The song created a buzz on the east coast and received some radio play as well, and was actually released as a single on a small independent label.

Based on the success of “Showstopper”, Salt N Pepa changed their name (they used to go by Super Nature), and their deejay (read the review on Hot, Cool & Vicious-I wonder how salty the original Spinderella is about losing that gig), and signed to then fledgling label Next Plateau.  In 1986 they released their debut album Hot, Cool & Vicious which contained the mega hit that would thrust them into the mainstream, “Push It”, which helped “push it” to platinum status.

Riding high off the commercial success of their debut album the ladies came back in 88′ with their sophomore effort A Salt With A Deadly Pepa (yes, I know that’s a corny title, but it is what it is). Produced entirely by Hurby LuvBug (and The Untouchables: must have been Hurb’s unemployed cousins or something, I’m still not sure what they actually contributed to the album), the ladies looked to build on the same formula as their debut.

Since I didn’t care much for the debut album things couldn’t get much worse the second time around, or could they?  Let’s give her a listen.

Intro Jam – The ladies start the show off with a brief mic check…keep your mind out the gutter!

A Salt With A Deadly Pepa – Over a pretty solid instrumental (that uses the same horn sample from PE’s “Night Of The Living Basshead”) that plays so long before the first verse it fools you in to believing that’s all it will be.  Salt and Pepa join the preceding late and share the mic over two solid verses.  The ladies sound aggressive on the mic and actually turn in serviceable lines (which I’m sure we can credit Hurby Luv Bug for writing). Decent start to the show.

I Like It Like That – The ladies make an obvious attempt to recapture the success of their massive pop hit “Push It”, which fails miserably (although this song actually has structured verses as opposed to repetitive chants of it’s predecessor). This was messy from the jump, no need to listen to this again.  By the way Salt, you don’t “drink” caviar.

Solo Power (Let’s Get Paid) – Since Pep had to step, Salt get’s a solo joint (hence the title of the song), which ironically she spends the majority of her rhymes talking about Pepa. The beat sounds sloppy at times (especially during the breakdowns) but Salt (whom I’ve always had a not so secret crush on, (especially during her Black Magic” days)), who isn’t quite ready for battle, sounds decent on the mic.

Shake Your Thang – E.U. joins the party on this collaboration that samples the Isley Brother’s classic “It’s Your Thing”.  Instead of instructing the listen to push it, the ladies now invite you to shake your thang: this sounds very similar to EU’s “Doing Da Butt”, which pretty much had the same theme.  Salt manages to maintain her flirtatious and sexy delivery, but not appealing enough to save this from being nothing more than pop fluff.  Yuck.

I Gotcha – Hurby (and the Untouchables) uses guitar licks over a drum track as the backdrop for Cheryl and Sandy’s version of a hip-rock song (I’m sure Run-DMC’s success influenced the ladies to try this one).  The guitar sample succeeds in giving the song an edgy feel but sounds super sloppy at times.  Salt and Pepa sound like they’re battling the track as they shout verses about a man who left his old chick to get with them, and…I’m not really sure what the rest of the storyline is on this one and don’t care enough to go back and dissect it.  Thanks to a semi interesting track, this song is barely bearable. I guess it’s safe to say the track won the battle.

Let The Rhythm Run (Remix) – Apparently this was originally in the movie “Colors” (according to the liner notes), which I don’t recall, although, its been years since I’ve actually watched the movie.  The ladies sound decent as they tag team the mic over a pretty solid Hurby Luv Bug production.

Get Up Everybody (Get Up) – I’ve always loved the piano sample sprinkled throughout this song (fellow female emcee Boss (remember her?) would use the same sample years later on her song “Born Gangsta”).  By late eighties standards the production sounds pretty polished.  Sandy and Cheryl sound fresh and rejuvenated as well (though they’re still not ready to battle or anything), easily making this the strongest song on A Salt With A Deadly Pepa up to this point.

Spinderella’s Not A Fella (But A Girl D.J.) – Sandy and Cheryl dedicate this one to their deejay Spinderella, version 2.0.  While it’s a very kind gesture, I’ve never been a huge fan of an emcee ode to their deejay, and this is no exception.  While it’s not terrible it’s far from spectacular.

Solo Power (Syncopated Soul) – Since Cheryl got her’s, its only right that Sandy gets a shot at her own solo joint.  I’ve always thought Salt was the stronger rapper of the two, but that theory’s out the window as Pepa’s lyrics are much stronger then those of her partner in crime on her solo effort.  When you factor in the hot drum rolls and jazzy horn samples, this is the second strongest song on A Salt With A Deadly Pepa.  Nice job, Sandy.

Twist And Shout – Yes, this is a remake of the Beatles classic of the same song title (unfortunately).  This is more of the same pop piffle that would define the ladies career and help them sell a zillion albums.  But don’t get it twisted, this is still terrible.

Hyped On The Mic – The ladies sound decent over this solid Hurby Luv Bug beat.  Salt’s (or was it Pepa, it’s hard to tell whose saying what since they switch microphone duties every other line) threat to pull out her uzi, was pretty laughable.  All in all, this was a decent ending to a very uneven evening.

In my opinion, Hurby Luvbug is a marketing genius: he snatched up two attractive ladies (well at least one, sorry Pep) with solid rap voices, fed them lines to recite over hip-pop (yes, I meant pop) beats with gimmicky subject manner, and occasionally, had them flaunt their sex appeal to ensure the movement of units. The results: two gold and three platinum plaques (the fourth album, Very Necessary, has sold over five mill to date, but I’ll cover that at a later date). Unfortunately, marketing genius doesn’t always add up to quality music. A Salt With A Deadly Pepa does have a few gems (largely due to pretty solid production work from Hurby), but the majority falls flat do to average rhyme skills and formulated (and sometimes corny) subject matter. Stay tuned, we’ll see how Sandy, Cheryl, and Dee Dee’s junior effort Black Magic holds up.

-Deedub

Riding high off the commercial and critical success of their debut Paid In Full,  Eric and William returned in 1988 to release their follow-up effort Follow The Leader.  The success of Paid In Full can largely be credited to Rakim, who redefined the art of emceeing with his strictly business demeanor, intricate rhyme patterns, and potent lyricism. Eric B’s funky samples and stripped down production worked well enough underneath Ra’s rhymes to cultivate a classic.  While Follow The Leader would go on to reach gold status (which has nothing to do with quality) is it good enough to help the duo overcome the dreaded sophomore jinx?

Let’s find out.

Follow The Leader – Over an epic Eric B beat, Rakim schools all followers, literally. Ra goes from wrecking comp, to dropping science (he literally gives lessons on the stars and galaxies), to history lessons, back to finishing off competitors.  Rumor has it Ra and Kane had beef at some point in the late eighties, and took shuttle shots at each other: I wonder if he’s referring to Kane in his last verse (“word to daddy indeed”…”couldn’t follow long enough so I drug em”). Now that’s a battle I’d cut off my right hand to see, if anybody has the inside scoop on that beef hit me up in the comments.  This song might have to go in my top 25 of all time, Rakim’s flow is flawless over this killer Eric B joint.  Nice start to the show.  

Microphone Fiend – These are the type of songs that make me yearn for the golden era.  Rakim kills it over this simple but very raw Eric B instrumental.  You’ll recognize several hip-hop quotables on this. While most recognize Ra as the greatest emcee of all time (a title he’s more than deserving of) one attribute that confirms that for me is his ability to spit top-notch lyrics articulately, and still come across with a hardcore edge, all without using the crutch of curse words. This is a classic joint!

Lyrics Of Fury – A furtified freestyle.  Rakim completely goes bananas over this raw rock tinged track, even adopting a raspy texture to his voice to match the track, which is a nice touch since the R normally comes off pretty composed. This song is sick through and through.  If you call yourself a head, you must become familiar with Eric B & Rakim’s catalog. 

Eric B Never Scared – Eric get his first solo joint, which turns out to be an average instrumental with a few scratches and cuts of Rakim and Bob Marley vocals thrown in for good measure.  This was okay but nowhere near as strong as the first three songs. 

Just A Beat – The distorted vocal that opens this song reminds me of  Ghostface Killah’s reoccurring crackhead character Clyde Smith.  This plays exactly as it reads: for the second song in a row, an Eric B instrumental.  While it isn’t terrible it’s a step down from the previous instrumental, and continues the downward spiral Follow The Leader has suddenly taken. 

Put Your Hands Together – The Casio keyboard intro sound like the kiddy song London Bridge, thank God it’s only the intro. Although the actual beat for the song is an improvement from the intro, it’s not great by any stretch of the imagination.  Rakim sounds pretty good, but not as engaging as he does on the earlier portion of Follow The Leader.  This turns out to be the first song on Follow The Leader that includes Rakim vocals, to qualify as only average.

To The Listeners – It’s amazing how Eric B’s beats went from great to barely bearable in the short period of 6 songs.  This beat has a borderline cheesy Inspector Gadget feel that somehow manages to work when Ra’s slick rhymes lick the track.  This was decent.

No Competition – Ra gets back to living up to the rep that the majority of the hip-hop world donned him with. The track though bare and stripped down,  sets the perfect stage for Ra to spit over.  This was nice.

The R – Many criticized Ra for hooking up with Dr. Dre a few years ago  to work on the now probably forever locked in the vaults Oh My God! project (which I believe would have been much more entertaining than the very average The Seventh Seal project he would release instead).  This proves that years before that venture Ra appreciated the west coast sound, as this definitely hints at the sonic west coast sound that Dre would perfect a few years later.  Ra actually sounds pretty nice over this Eric B production, even though his lyrics aren’t as meaty as most of his other output.

Musical Massacre – Eric B’s track sound very similar to the beat used for EPMD’s “I’m Housin”.  Ra sound great over this hot instrumental.  This still sounds very nice. 

Beats For The Listeners – This is an instrumental of version of “To The Listeners”…and with that we’re done.

Follow The Leader finds Rakim displaying the same lyrical wizardry he first demonstrated on Paid In Full over Eric B’s stripped down and mostly effective production.  Follow The Leader starts off very strong, fizzles in the middle, and starts to build back up its momentum before the show comes to an end.  Rakim’s lyrics are strong throughout the album (if you don’t have him in your top 10 you’re either A) 21 and under or B) Special Ed material), it’s Eric B’s production that contributes to Follow The Leader’s fizzle.  Follow The Leader is definitely not the duo’s best effort but it still sounds better than most of the material from their contemporaries.

-Deedub

Many consider 1988 to be the finest year for hip-hop album releases,  due largely to Public Enemy’s critically acclaimed It Takes a Nation, BDP’s By All Means Necessary, and debut album’s from Big Daddy Kane and a young duo from Brentwood, NY EPMD.

After paying their dues (a term current rap acts aren’t familiar with) on the chitlin circuit Erick Sermon and Parrish Smith signed to Sleeping Bag Records and begin making dollars (the MD in the acroynm EPMD has a different meaning depending on the day of the week you ask: Making Dollars, Mic Doctors, Millennium Ducats, etc.) after the release of their 1988 debut album Strictly Business.  On the strength of their poker faced lyricism and funk beats the duo would go on to earn a gold plague for Strictly Business.  The album would go on to receive much critical acclaim and was also included on The Source‘s revised list of 5 mic albums released in 2002.

Strictly Business – Erick & Parrish set the tone for the evening sampling Eric Clapton’s version of Bob Marley’s “I Shot The Sheriff” which makes for a funky and entertaining opening.  Erick sets thing off and introduces the world to his heavily lisp monotone flow, while Parrish’s smooth flow compliments the green-eyed bandit’s sleepy flow nicely.  This song is packed with hip-hop quotables that have been sampled by several artist.  This still sounds great 20 plus years later. 

I’m Housin – The duo sample Aretha Franklin’s “Rock Steady”, which sounds like an attempt at a dance/commercial record, but still manages to maintain it’s integrity.  P & E sound fresh, and I love this beat.

Let The Funk Flow – The duo manage to make their flow fit this “drunken” beat.  I don’t know if anybody else could rap over this beat and pull it off (even Nas who I put it my top 10, couldn’t do justice to the same beat which he used for  “Nastradamus”).  Even though E’s lyrics are a few step from amateur, this song is a decent listen.

You Got’s To Chill – Certified banger!  The duo sample Zapp’s “More Bounce” for the backbone for this track.  The mic doctors tag team the mic and dissect this beat like pros.  This is classic hip-hop, son!

It’s My Thing – The mic docs spit over a soon to be recycled sample (Jay-Z & Foxy Brown’s “Aint No Nigga”)  with pleasant results.  Erick sounds pretty good but this is clearly Parrish’s show as he rips this beat to shreds. This was a very entertaining 6 minutes of EPMD funk. 

You’re A Customer – The duo serve all competitors over a bouncy bass line.  Although the beat sounds a bit empty this still manages to work, mostly do to the infectious bass line.

The Steve Martin – And then we’re hit with this mess of a song.  EPMD attempt to create a new dance craze named after the actor, best known for his stellar performance in Bringing Down The House, Steve Martin.  I got nothing good to say about this one, this was terrible. By the way, the comment about Bringing Down The House was a joke people.

Get Off The Bandwagon – After a major misstep Erick and Parrish get – back to business.  This song uses the same template as “Customer”: pretty empty beat, with an infectiously bouncy bass line that carriers the song.  This still sounds pretty dope.

D.J. K La Boss – La Boss gets what would be his only solo joint on a EPMD album, as he would be replaced by DJ Scratch after Strictly Business (if anybody knows the story behind his departure, hit me up in the comments, I would love to know).  This was decent, for a deejay joint.

Jane – Ah, the first edition of the infamous Jane series: Jane is a “skeezoid” (I love that term but man does it sound dated) that Erick got with back in the day, and the stories would get more weird with each chapter (there is a Jane song on each of EPMD’s 7 albums). In this particular case, Erick waste 3 minutes on an uninspired verse on a pointless tale of his sexual shortcomings.  This was a terrible way to end a nearly flawless album.

If you’re looking for a socially conscious hip-hop album, Strictly Business isn’t the place for you.  But if you’re looking for quality lighthearted-braggadocio hip-hop you’ve come to the right party.  Strictly Business strives off of the duo’s funk and bass heavy production and witty lyricism, helping E & P live up to the album’s title.  Strictly Business is a solid effort and a great debut for the legendary duo.

Did The Source Get It Right? Strictly Business comes close but no cigar.  While “Jane” is definitely weak, it’s bearable, and I’d be willing to over look it.  But there is absolutely no forgiving the train wreck that was “The Steve Martin”.  You shave off those two tracks and we have a 5 micer, but since those two tracks exist we have a 4.5 er.  Holla.

-Deedub