I can’t attest to ever being a huge fan of Big Pooh, Phonte or any of the Justus League collective, partly because of the overt feeling that they’re rhyming conscious but “they ain’t saying nothing”. Especially when it comes to Big Pooh who seems to be the king of meaningless words that still flow beautifully over a 9th Wonder production. Well, maybe that’s a little harsh, since Pooh and Phonte have done some quality work in their short career. Still, it was this album that I found the most impressive in the whole Little Brother discography. Better than Get Back, The Minstrel Show and Separate But Equal. Upon first listen, I was almost deterred because of the cover. What accomplishments does Rapper Big Pooh have to warrant any comparisons with J Dilla? None really, but this album is taking a step into the right direction…
The Strongest Man
Exhibit A (word to Poe Picasso) of Big Pooh not really saying anything worthwhile, but still sounding pretty good on the final cut. If you really want my opinion, this song is a perfect embodiment of how conscious hip-hop has gotten tired and played out. “Rock to the rhythym/You can’t see me/Chillin on the cut/Yeah, that’s where you’ll find B”. Still this track is just friendly piffle that you can’t really hate on, no matter how many times you’ve heard a song almost identical to it before.
Heart Of The City
I’ve gotten into a few arguments lately about 9th Wonder’s status as one of today’s best producers and I always use this instrumental as proof that 9th is on his way to Madlib-esque martyrdom in the underground hip hop community. Pooh on the other hand, impresses, but lacks the lyrical prowess to really make your jaw drop. The track as a whole is a definite blunt-lighter.
Scars (Cut Me Deep)
This is that dope posse cut I needed to hear. Justus League weed carriers Median and Joe Scudda come semi-hard (no homo), but Pooh smashes the first verse.
Now
To be honest, this was my true motivation to listen to Sleepers in the first place. It was never really about Big Pooh, but moreso about 9th the whole time. This track is interesting because you get to see the 10-1′th Wonder cook up an instrumental that both Pooh and MURS can comfortably glide over. Dope shit, aside from the hook which was just embarrassing.
Those were four of my favorite cuts off this album, all the other joints were pretty weak. Still, on an instrumental level this album is not bad, and when Pooh comes through and kicks some real shit on the mic this becomes one of the better Little Brother projects.
0-20: Terrible listening experience 21-40: Maybe one good song 41-60: A few good songs 61-80: Half are good songs, half are weak 81-100: Great listening experience, almost all are great song
Gotta love a 2005 cover that genuinely looks like it was made in the mid 90’s. To tell the truth, I only started rocking with QNC (MC Q Ball and producer Curt Cazal), when I first heard them over a vicious cut by Aim (don’t sleep on that true British hip hop). The type of song that makes you forget all the bullshit and realize why you loved hip hop. I’m teasin, I know, track’s called The Force (no Obi Wan), and it will literally rock your shit. Guaranteed. It’s like when you first heard O.C.’s stellar Word…Life and off the strength of that one album you tracked down his whole discography. Same here. That joint is so vicious, that I was compelled to go all out. Copped the 12′, the vinyl’s, the instrumentals, the album, everything. Off the strength of that one joint. Anyway, QNC is a great listen, and they got a feature from Camp Lo. At the moment, that might not seem all that impressive, but Camp Lo was ghost like Casper 4 years ago. And if you ain’t fucking with Camp Lo, I don’t even know.
For Da’ Love
How many songs have you heard where the MC’s claim they’re doing it for the love? Ludacris did it 3 songs in a row his last album. Take my word for it, this isn’t another I Do It For Hip Hop. This is a deeply heartfelt ode to that art form we all love. Haunting instrumental, those NY lyrics that quietly smack you across the face, and an immaculate scratch for the hook. What more can you ask for?
Streets Don’ Run (feat. Dimes)
You hear this beat? You hear this fucking beat? What’s fucking with that? To balance it out, QNC and Dimes kick some wack shit, still a dope track though.
It’s Going Down (feat. Camp Lo)
This song isn’t going to change anyone’s life, but at the same time it’s a harmless waste of four minutes. Sounds like any track on Uptown Saturday Night with a little more polish and a lot more playfulness.
Would You (feat. Dubble D)
Oh man, this guy must get so much shit for his rapper name. Some great storytelling over an almost Miami Vice- esque beat. To tell the truth, this shit is kinda wack, but that “would you” scratch is just immaculate.
Major League (feat. Schinie)
Schinie with (her?) gruff Lil Kim voice spits some hot fire all over the first verse, and then the lyrical dragon Q Ball finished the job. Nothing like a job done right.
On some real shit, this album wasn’t terrible but it wasn’t awfully impressive either. The few tracks listed above will prove as a good gateway to the rest of QNC’s discography. However, I didn’t find one joint that truly measured up to the greatness that was The Force. Different strokes for different folks though.
0-20: Terrible listening experience 21-40: Maybe one good song 41-60: A few good songs 61-80: Half are good songs, half are weak 81-100: Great listening experience, almost all are great songs
Kool G Rap’s story has always intrigued me. This is a man who is widely considered a hip-hop pioneer for his early work with DJ Polo and The Juice Crew. Nowadays Kool G is still relevant, although he’s passing off third-rate mixtapes with the likes of DJ Whoo Kid among others. A whole hip-hop culture unto itself indeed. What’s really fascinating is how G Rap was able to outlast many of his peers. Rakim, Public Enemy, UMC, and most of his fellow Juice Crew have fallen into relative extinction. However, Kool G has quietly been keeping his name alive. Also notable is the change in style. When G Rap was a member of the Juice Crew, his rhymes were well… kind of corny. Not compared to Biz Markie, but still, if you listen to his really early material you’ll notice that he emulated the times. Few years pass and KGR really takes hold of his true identity. Starts to patent his trademark rapid flow, the mafioso image, and the pentasyllabic rhyme scheme. About the time when he drops 4,5,6. This is one of those albums that got shitted on upon first release, but people grew to love it. Seems like a very common occurrence throughout hip hop history. On an extremely random note, did anyone else know that Kool G had a kid with Karine Stephans (you may know her better as Dick Tonsil or Supa Head)?
4,5,6
Isn’t it like an unwritten rule somewhere that the title track is never any good? Regardless that’s not the only surprise here. A certain Nasir Jones (who appears later on this album may I add), is sampled here almost directly in the same way that Sean Carter did it. Maybe Nas didn’t take offense to it, because it was done so sloppily. Seems like Dr. Butcher isolated the half-second he needed and just stuck it onto the hook. Regardless, one of the best odes to rollin’ dice ever. It’s A Shame
The description of Tammy is priceless.
“Her name is Tammy, got a beach house in Miami Rides around with a small jammy in her silk and satin panties A down hoe, a Foxy Brown hoe, standin her ground hoe And if you clown yo she’ll turn into a bust a round hoe”
One of G Rap’s premier ventures at storytelling, only weakened by the dime-a-dozen hook. Regardless, this is one of those tracks that attempts to be a laid-back cross between sultry R&B and softcore hip hop. It succeeds at neither, but KGR’s mastery in Aesop, makes you totally neglect everything besides the word’s coming out of his mouth.
Take ‘Em To War (Feat. MF Grimm and B1)
One thing that has steady amazed me is how many producer’s sample David Axelrod. I’ve never been a big Grimm fan, especially his later work, but his verse here is pure brilliance. Doctor Death. Following Grimm’s beast of a verse is early Rawkus legend B1. Launching an onslaught of lyricism that lasts for just one minute, but is remarkably vivid in it’s duration.
Executioner Style
This is where G Rap truly shines, a minimilastic beat with soft vibrations and vicious drums, which let’s KGR excel by throwing all sorts of alliteration and assorted rhyme schemes into the mix. One of the most violent and grotesque tracks you’ll ever hear ( “I make Bloody Mary’s out of your capillaries”), but it’s hard as fuck not to nod your head to this one.
For Da Brothaz
What would be just another ‘pour one for the homies’, is immeasurably improved by KGR’s lyrical prowess, but even that doesn’t rescue this song from mediocrity.
Blowin Up In The World
Not enough can be said for Buckwild’s production on this cut, I won’t attempt to do it justice, mixed with yet another KGR lyrical annihilation this track proves immaculate (word to Franco Harris).
Fast Life (feat. Nas)
This poppy instrumental has always reminded me of Miami in the ’80’s. The 20 second intro adds to that element. Lame-ass hook, but Nas and KGR combine to firebreath for a good four minutes.
Ghetto Knows
As someone who almost always has something bad to say about the hook, I’m rendered speechless here. Very well done. This has always seemed like a logical outro to me, so this is where we’ll end.
I think it’s fair to say that 4,5,6 is not a very well-produced album, an mirror image of Lifestylez ov Da Poor and Dangerous with average instrumentals and ‘way before their time’ lyricism. This album is a benchmark to the rapid-fire flow, never would any rapper spit half as fierce as KGR on 4,5,6, but countless rappers would try their hand at it. Well, imitation is the highest form of flattery Mr. Wilson.
0-20: Terrible listening experience 21-40: Maybe one good song 41-60: A few good songs 61-80: Half are good songs, half are weak 81-100: Great listening experience, almost all are great songs
April 19, 1994. A single tape of 39 minutes and 43 seconds revolutionizes an art form called hip-hop. No matter what precedes this album nor what comes after, April 20th was a new day for hip-hop. Just like the later predecessors drew influence from innovative artists like Rakim, Big Daddy Kane, and Krs-One, such was Nas’ influence on hip-hop. In many senses Illmatic became a manual of sorts, a holistic Qu’ran for any rapper truly seeking the approval of underground heads. Illmatic was Nas’ Starry Night, the endless ideal that even the architect would never again achieve. Aside from being a cultural bookmark and divisor, this album also clearly marks Nas progression from lazy-eyed freestyle kingpin to someone who truly deserved the cosign from Main Source and MC Serch. Chronicling the rise of a young street dweller who came up in an almost the identical pattern as Big Daddy Kane. Starting off on a classic posse cut - for Kane it was The Symphony, for Nasir it was Back To The Grill and Live At The Barbeque - and then growing to infamy with a classic first album. Both Long Live The Kane and Illmatic also only consist of 10 songs. However, that’s where the comparisons end. Kane entered the history books but Nas re-wrote the history books.
Review
The Genesis
Back in the day when Q-Tip was a teenager, intro’s like these were a dime a dozen. In reality, it may seem like it’s just Nas and AZ bullshittin’ over an prehistoric Grand Wizard Theodore instrumental- Subway Theme to be exact- but this track unconsciously sets the tone for the rest of the album.
N.Y. State Of Mind
This song is why The Genesis is such an effective intro. You expect to hear a lounged-back Main Source (Live At The Barbeque) sound, but Primo and Nas deliver anything but. Those dirty drums start kicking, that bassline just floats along the instrumental, and the one piano key ominously ends the loop. Nas adds a memorable first verse that seems to never end, but still effortlessly seams into the hook. Simplistic beyond comparison, yet all Primo needs is a quick vocal from Eric B and Rakim’s Mahogany and Nas is off. In the second verse, Nas simply unleashes countless quotables until Primo lets the beat go.
Life’s A Bitch
You go from the chill freestyle vibe of N.Y. State Of Mind to the comfortably rushed atmosphere that engrosses this whole song. Regardless, AZ has earned unanimous acclaim for his verse simply annihilating L.E.S.’s jazz-tinged masterpiece. However, Nas answers back with an equally poignant lyrical performance. But, it’s Olu Dara who kills it on the cornet, when L.E.S. allows his instrumental to flow free.
The World Is Yours
To this day, Pete Rock has never bested this masterpiece. As a producer, Pete has an legacy of often outshining the artists that utilize his instrumentals. Not so here, it’s a purely synchronous sound that is made for each other, the hip hop version of peanut butter & jelly. It’s ironic how Nas changes subjects in the middle of the song. First verse is a dead-on Scarface impression that would make Brad Jordan blush, but the second verse is pure brilliance disguised as braggadocio.
Halftime
Don’t ever doubt Large Professor! Who else has the audacity to sample Jaz-O in the presence of Average White Band? Nas, not to be bested, changes up the flow two or three times per verse. Word to Marcus Garvey. Those steely drums are just one of a kind, and are just begging to be sampled. More impressive, are all the cultural tidbits Nas manages to drop in four minute’s time, while addressing his own problems at the same time. Don’t plant that seed, if you can’t feed is the moral of this story.
Memory Lane
Nas changes up from a fast-slow, up-down flow to a consistent one, and simply unleashes a verbal tangent that will never be equaled. This sounds nothing like Primo though, doesn’t fit in with his catalogue by any means, nonetheless Primo comes through with some crazy samples on this one. That ever-present moaning on loop is Get out of My Life, Woman by Lee Dorsey, and perhaps the greatest sample DJ Premier ever used is Pickin’ Boogers by Biz Markie. That was good thinking. I still freeze up a little when I hear the last two bars of this song:
True in the game, as long as blood is blue in my veins I pour my Heineken brew to my deceased crew on memory lane
One Love
The Abstract comes through with an instrumental of majestic proportions, not at all comparable to the work of Ali Shaheed Muhammad. It’s interesting to hear Q-Tip’s productions, since he could always hold his own on an MPC, but subsequently let Ali Shaheed Muhammad handle the work behind the breaks. On a linguistic tip, this song comes much weaker than the predecessing tracks, but Nas shows flashes of the indirect storytelling that would flesh out later with the ill-fated Firm. From 4:19 and onwards Nas bullies this instrumental lyrically.
One Time 4 Your Mind
A head-bopper in every sense of the word. That slow flow, the effortless rhyming that just simultaneously ensues from this immaculate blunt-head’s paradise. Large Pro comes through again with an deep bassline complemented by twangy drums that just slow everything down. Perfection in the form of audio marijuana ganja.
Represent
This marks the transition of Nas from a spiteful yet protagonistic emcee to an rapper with lyrical prowess nearly unmatched. This song sounds much less Illmatic and much more It Was Written, not in a negative sense, but moreso in terms of stylistics and delivery. Like a posse cut, minus the weed carriers and excess baggage. Did Nas really run with a crew called “The Shorty-Busters”? Let’s hope not for his sake, because that’s just embarassing. Also probably the first time I’ve ever seen Primo simply utilizing one sample.
It Ain’t Hard To Tell
This instrumental alone is all the imagery you need to envision the 90’s in one complete sound. One of those moving send-off’s that puts you in the right state of mind every time. A N.Y. State Of Mind!
Outro
It’s fair to say that Illmatic is the best hip hop album of all time, and therefore this review should be worthless to most people. If you don’t already own this album in any capacity, do yourself a favor.
Not sure why, but I thought it would be fitting to review this album. Maybe it's because Statik Selektah (did I spell your name right?) and pro-beef Saigon just made a whole album in one day. Well, it is because of that. Personally, I've got no problem with neither Statik or Saigon. I'm not sure how Saigon got to beefing Joe Budden and I could care less, beef is always about record sales. It's like artists make a mutual agreement to beef with each other to sell records and then pay each other back later. But I feel like this one day thing is a gimmick. How can you honestly say that you created the best product you can in one day? That's like how Swizz Beatz brags that he makes most of his beats in less than an hour. That's cool and all, but Swizzy: you still can't produce! With that in mind, Skyzoo and 9th Wonder created this composition in three days. The clever title would suggest they were fuckin' with some cannibus during the process. Like I said, clever. Anyway, the real reason I chose this is because it's only 12 tracks. So, here we go:
1.Bare Witness There's nothing more pretentious than explaining the title of your album. Reminds me of when Biggie explained the "Two Pac's" joke on Brooklyn's Finest, 3:21 if you don't know. I also found it kind of funny how Skyzoo had to explain that he knew 9th and described how we acquired 9th's beat tapes. As for the song? It comes really weak. 9th tries his hand at a Primo impersonation, and Skyzoo just comes weak all around, on the hook, on the verses...
2.Way To Go This the production we've all come to expect from 9th, just killing it with the samples. Once again Skyzoo does a little too much talking and sounds like a little bit of a jackass, but once the beat kicks he does his thing and rips this instrumental. Really impressed me with the flow and the rhymes.
3.A Day In The Life I'm usually the first person to say that 9th Wonder needs to expirement more, or use something other than Fruity Loops, but he steps outside of his comfort zone here and the result is painful to listen to. Brave soldiers ready your ears. It's not that bad, but this track came really weak. Mostly because Skyzoo isn't one of those rappers that can take a bad beat and still kill it. And you already know the hook is wack.
4.Stop Fooling Yourself These are those crazy samples that make 9th one of today's best crate-diggers! I just tuned out to this beautiful instrumental. Don't really remember what Skyzoo was talking about, ripping his acceptance letter or something. Oh well...
5.Comeback Nah. This was a track for the ladies, and it was even softer than I expected. Definite skip/delete.
6. I'm On It Did I mention that Skyzoo can't make a listenable hook to save his life? It's not a bad track, but the chorus is just so wack. Ruins whatever replay potential this song could have had.
7.The Bodega Banger. All I can say is that all my previous criticism for Skyzoo and 9th is null and void on this one. Easily the best track so far.
8. You & Me Another track for the ladies, but this one wasn't as bad as it's predecessor. The hook was weak as fuck again, but other than that it's another quality composition. Really starting to groove with 9th behind the boards right now.
9.Live And Direct Very average, like I wanted to vibe with 9th's beat and what Skyzoo was saying, but I simply couldn't. You know the feeling.
10.The Spirit Skyzoo outshines 9th here. Not a bad beat, but the lyrics were on point, and the whole track was ill.
11.Extreme Measures Skyzoo tries his hand at Brenda's Got A Baby to little avail. Kind of a sleeper despite the vicious instrumental.
12.Mirror Mirror Did you honestly expect much from this title? Just an average outro minus the interlude feel of an average outro.
Decent, not much more, not much less. I had been hearing a lot about Skyzoo and I found him to be super-average. 9th comes through as usual, although he sprays in a few wack beats here and there. Overall, it's a decent mixtape, but I don't see any reason to go out of your way to cop this.
0-20: Terrible listening experience 21-40: Maybe one good song 41-60: A few good songs 61-80: Half are good songs, half are weak 81-100: Great listening experience, almost all are great songs
Lately I've been bumpin Deltron 3030 like none other. Believe me when I tell you this: Only Soul On Ice Ras Kass can compare to Tha Funkee Homosapien on a lyrical level. After wearing out the speakers in the car listening to Things You Can Do, I finally moved onto Del's short-lived solo discography. I have to say this guy gets slept on like narcolepsy. One of my favorite things about Del is his ability to wreck any beat with his chameleonic flow. Another is the wide variety of incredibly ill instrumentals he spits over. At this point in time in Del's career he was just beginning to craft his uniquely patented style of trite braggadocio hip-hop mixed with insane wordplay that gives you authentic goosebumps. Enough talk though...
1. You're In Shambles The soft jazz in the back-end of the instrumental has always put me in a different mindstate. Something so ethereal about this instrumental. And Del's other-worldly flow and lyricism leave this song in shambles.
2. Catch A Bad One If anyone can make meandering violin sound like a traditional hip hop instrument it's definitely Del. This song is dope, but not comparable to You're In Shambles.
3. Wack M.C.'s Ahh, the ever-popular early 90's ode to the wack MC or wack crew. I've got a theory that you can find a song like this on almost every hip hop album made in the late 80's and 90's. Del puts his personal spin on it, but it's still really predictable, especially the hook.
4. No Need For Alarm It took me a little while to warm up to this track, but I'm really feelin' it as I type. The flow still makes my jaw drop. Whose fucking with Del?
5. Boo Boo Heads The hook is funny in a 90's sort of way. Like when kids my age watch Friday and understand the jokes in a "I feel it even though I didn't live it" sense. The flow and insane battle raps are killing me at this point.
6. Treats For The Kiddies Title says it all. My only complaint for now is that the last six songs sound like the same thing with a minor beat change. Minor meaning a slight change in the bassline or adding a scratched vocal here and there...
7. Worldwide I guess I planned that above statement perfectly as Del lines up some top quality lyricism over this East-Coast instrumental. The guest verse sounds ominously just like Del; the flow, the rhyme scheme... sounds like it might have been *gasp* ghostwritten? Or Del knows how to throw his voice... either way this song is dope.
8. No More Worries Let's get this straight. This is the best instrumental on the whole album. Maybe the best instrumental of it's respective year. But Del's guest features sound somewhat awkward over this instrumental. Still an amazing song...
9. Wrong Place I can't place my hand on the sample and it's bugging me! Also amazing, is the direction that Del took over this instrumental. Just flipped it completely on it's ass... much props given Mr. Homosapien.
10. In And Out Compared to all the previous songs, this one is a snoozer. The instrumental is not engaging at all, so it neglects whatever Del is spitting.
11. Don't Forget Another fairly weak beat, but Del rides this one much better. Still a sub-par song when compared to the rest of the album.
12. Miles To Go If you look through Del's entire discography you will notice that he does a few songs like this per album. This doesn't sound like it belongs on this album, but it still kicks something crazy...
13. Check It Ooout Del slows his flow down, and kills this track. Best song off this classic album, hands down! You'll have to Check It Ooout...
14. Thank Youse Very weak ending, but it is an outro, so if you take it into perspective, this song serves it's purpose.
Very solid album. Del comes with his own style and keeps it consistent throughout the whole album. Heavy funk and Del's flow just work together, and this album is a joy to listen to.
0-20: Terrible listening experience 21-40: Maybe one good song 41-60: A few good songs 61-80: Half are good songs, half are weak 81-100: Great listening experience, almost all are great songs
J Dilla. Madlib. Seperately these two super producers have an extensive resume of proof that they know music. On the one hand, the late great Dilla over the years gained respect of a countless amount of musicians, mainstream and underground alike, a feat that is rarely accomplished these days. On the other, Madlib has been working practicly in seclusion under various alias' and seems to never stop releasing music under his own terms. Considering the staggering talent following close behind each of these artists; the expectations for this album are higher than Madlib's Quasimoto voice (another album worth reviewing at some point).
One thing to point out before starting the track by track rundown, this may be a collaboration, but with the exception of the first track and the two bonus tracks, Dilla and Madlib produce the beats by themselves. This wasn't sitting around and co-producing each song, but rather the two were sending beats and vocals back and forth between LA and Detroit.
1. LA to Detroit This is just an intro, but it shows right off the bat that Dilla's thumping drums go well with Madlib's synthy bass and weird sounds.
2. McNasty Filth (ft. Frank-n-Dank) The CD really starts here, and it starts with a Madlib banger. Frank-n-Dank aren't too lyrical but they get the job done and bring the energy needed to match the song.
3. Nowadayz Another crazy beat, this time by Dilla. Already it seems that if you're not paying attention you could forget that these are two different producers. I think that's part of what makes this CD work. Even though they didn't work closely together, it still all flows really well. Madlib spits on this one, and it works in a sense of sounding alright and matching the beat, but he's definitely not a lyricist. The way I would describe Madlib as an MC is he keeps it interesting enough that you can listen and not be bored, but he doesn't take the attention away from the music. Not necessarily a bad thing.
4. Champion Sound The title track is produced by Madlib and really keeps the momentum going. Like Madlib, Dilla isn't that great lyrically, but the way this album moves and keeps giving you crazy beats it almost doesn't give you time to think about the vocals other than asking whether they match the beat. Dilla can flow even if he's not saying much.
5. The Red Despite the piercing guitar(?) loop presented by Dilla, this is one of the instances where the lyrics hinder the overall song. Luckily its only the first half of the song that has lyrics so if you want to just enjoy the beat you can.
6. Heavy The title says it all, a heavy repetitive drum loop with Dilla's vocals mimicking the feeling.
7. Raw Shit (ft. Talib Kweli) Probably one of the weaker beats on the CD, but Kweli helps this track out a lot. Madlib has the first verse and it's one of his more mediocre so you have to wait through that to get to Kweli, but it's worth it as the song jumps up a few notches once he gets on the mic.
8. The Official Great beat. I don't think Dilla's voice matches over it so that kind of brings it down.
9. The Heist This is a rare occasion when the beat is actually as average as the lyrics. Madlib tells a story but it really isn't interesting enough to listen closely to.
10. The Mission This brings the album back to greatness with what worked before: top notch creative beats and minimal lyrics that just compliment the music. This track kind of feels like an interlude linking the first and second half of the album.
11. React ("ft." Quasimoto) This is a real cool/trippy beat, fitting for Madlib's high pitched alter ego Quasimoto to show up. The vocal samples sound really good mixed in here too.
12. Strapped (ft. Guilty Simpson) Another unique beat, and Guilty Simpson fits perfectly on this. This especially brings out one of the recurring feels of the album: a mix of grimy sounds and precise instruments. Detroit and Los Angeles. Two great things that shouldn't sound good together, but work anyway.
13. Strip Club ("ft." Quasimoto) This is where Madlib works best, light hearted and funny descriptions of things like going to a strip club over an equally lighthearted beat. Nothing groundbreaking here, just fun.
14. The Exclusive (ft. Percee P) The beat is really simple, so it puts the spotlight on the lyrics. Unfortunately, Percee P doesn't really deliver a good enough verse and instead this is just a throwaway track.
15. Survival Test Madlib brings out a really vibrant sample, and Dilla does a good job only saying as much as he needs to on this.
16. Starz Dilla follows up with his own gem of a sample, and Madlib's vocals aren't half bad either.
17. No Games The proper final track of the album. Madlib brings in a really soulful sample and they end it with a track that keeps the quick pace but does it in a more low key fashion.
Raw Addict/Pillz The two bonus tracks. Both of these are good Madlib tracks, bringing more of his humor and creativity. These are both great tracks but don't really fit anywhere in the album so they're perfect for bonus tracks.
There it is. Chances are, this will feel like a short CD as the music is easy to zone out to. As expected from an album made by two producers, the lyrics weren't great, but considering they only had a few guests they managed to turn in vocals that contributed a little to the incredible beats. So did this meet the lofty expectations? I'd say that it's not necessarily what you would expect from hearing "Madlib and J Dilla collaboration", but it does keep the level of quality that the two have been working on for years. Sure, they could've brought a lyricist to do the tracks, but then it wouldn't have been a Madlib/Dilla collab but instead a Madlib/Dilla/____ CD. They also could've done an instrumental, but I think they use their voices almost as instruments more than lyrics. I'm just giving a score to the main album, but a while back Stones Throw re-released the album as a 2 disc set with instrumentals and remixes, and that I highly recommend as even if you don't like the lyrics you can switch them out whenever.
0-20: Terrible listening experience 21-40: Maybe one good song 41-60: A few good songs 61-80: Half are good songs, half are weak 81-100: Great listening experience, almost all are great song
How do you introduce Slum Village? That question has been bugging me for the last hour or so. They are a group like no other, that harbors influences from countless places. The group was spearheaded by arguably the greatest producer of all time. There aren't enough words to describe what J Dilla bought to Slum Village. Very rarely does a producer overshadow the other members of the group (Primo and Pete Rock are examples). Needless to say, Jay Dee is held in very high regard (partly because of his untimely passing, but also because of the amazing work he's done). Alongside Jay were Baatin and T3, less-known but still cornerstones of the group. *Ten useless biographical sentences later* And that's the story of Slum Village. Now it's time for Fantastic Vol.2, hit it!
1. Introduction For once I can actually applaud the intro. Although it's kind of ignorant for me to assume that Slum Village would make an average rap album intro. I love the last 7 seconds of this track too.
2. Conant Gardens An ode to where the crew grew up. The title is anyway, the lyrics are more reminiscent of braggadocio hip-hop where they effortlessly ride the instrumental while kicking some dope rhymes.
3. I Don't Know I don't know why I wasted my time with this track. Baatin and T3 took a capable instrumental and turned it into a snoozer. Next!
4. Jealousy Sounds like Jurassic 5 with the choppy flow and the subject matter. This song isn't going to change anyone's life, in fact I can't even imagine anyone remembering this song after hearing it. So, it was a delete for me.
5. Climax (Girl Shit) A very soft-spoken track, emitting the warmth only an average R&B tinged J Dilla track can bring. This track bears a very striking likeness to The Tribe Best Known As Quest. Although retaining the qualities that make Slum Village such a well-respected group.
6. Hold Tight Another chill, mellow, laid-back track. Although it's somewhat of an aberration as all of Slum's tracks can be described as chill and mellow. This is one of the better Dilla instrumentals off the whole album, as such I would have preferred less features. Q-Tip's verse is nice, but it starts to trail off from there (said in a diminishing voice).
7. Tell Me I could do without the weak hook and the strange interlude-esque conversations at the end of the tracks. Once again this song starts off well, it even holds up well till about the halfway mark when the lyrics crash like a house of cards. This Dilla beat is something else though I tell you... Baatin and T3 should still be counting their blessings. 8. What It's All About I wish I had something good to say about Busta's verse, or even as an artist in general (Arab Money? That's what your career has come to?). Alas, I'll leave that topic relatively untouched. Another dope beat, interesting sample for the hook, I was feeling this track all in all.
9. Forth And Back Nah, wasn't really feeling this one at all. Even the instrumental was pretty weak here. Next.
10. Untitled/Fantastic And we're back on track. This song has always mystified me, something so ethereal about this instrumental, and for once I can one up the MC's. They did their thing on this here beat. Possibly the best song on the album, so you already know how I feel about it.
11. Fall In Love I honestly prefer the last minute and a half to the beginning of the track. The musical backdrop is something amazing, and the hook is haunting. I don't know what the last 30 or so seconds were about, I'm sure they tied into this recurring plot at the end of every song, but it really detached from the track's overall value.
12. Get Dis Money Personally, I don't think anyone should ever spit over this instrumental. And when they do spit over this memento, it should be something more than: "Hey, hey/ What you say/ Get dis money"... Comparable to letting Lil' Wayne freestyle over I Used To Love H.E.R. It's not a bad track at all though. Just that you'd expect Slum Village to dig deep and find lyrics and a hook worthy of this instrumental.
13. Raise It Up Not really feeling any of it. Some hypocritical titles here!
14. Once Upon A Time Pete Rock and Dilla together produce this beast of an instrumental. And the good folks over at Slum Village grace this track with some poignant lyricism. Thank you. And for once, the last part of the song isn't completely worthwhile-less.
15. Players T3 actually did an interview with Fader, where he talked about this song. One of the things he mentioned is that the sample actually says Claire and not Players. But they say Players so much in the song, that's what you believe the sample is really saying. The song itself is amazing. A classic Slum Village cut. Also here's an quote about the motivation for the track:
People don’t know that was a battle song, only niggas in the D know that. We was actually talking ’bout some real niggas. We’re cool today, but it was actually (deceased rapper) Proof's group (5 Elementz). These niggas had just dropped they CD that Dilla did most of the beats for and they was just acting arrogant, walking around real tough and we got kind of offended by it. Once we started talking about it, Waajeed (from Platinum Pied Pipers) was like a hype man, like, “Man, they just put their shit out, where’s yours?” We went over to Dilla’s house and it was one a them nights where everything was clickin'. Two weeks later we came with Vol.1. They kind of inspired us by being so arrogant, so we made “Players” about them. They found out, I don’t know how…somebody told.
16. Eyes Up
After the song that preceded it, you're just expecting so much more than this insignificant babble. It's not a bad song, but Baatin and T3 are capable of so much more. Not bad, but definitely lackluster.
17. 2U4U
Slum Village's two lesser members ruin another good instrumental. They ain't sayin' nothing!
18. CB4
No Chris Rock references to be found here. The hook has me scratching my head quite a bit. Are they chanting or what? One of the strangest things I've ever heard on wax. Blow-job interference? Cock-blockers? Very clever.As for the song itself, it's not really anything worth hearing.
19. Go Ladies
There's no rapping to be found here. Some incoherent babbling in the first verse, and it never really gets much better. Another lacking effort over a very capable instrumental.
20. Thelonius
Ironically, Slum Village treats listeners to a top-quality send off. Superior to most of the album and definitely a song you should check out.
It's hard to really pass judgement on this album. Although the lyrical content was terrible (sorry John), the instrumentals were top-notch. This album reminded me of Group Home's Livin Proof'. Then again Slum Village was never known as amazing lyricists and Jay Dee, in fact most hip hop fans would be hard-pressed to name Baatin and T3 as the other members. So I can't say much about this album on a lyrical level, but an instrumental version of this album would be very well worth your time.
0-20: Terrible listening experience
21-40: Maybe one good song
41-60: A few good songs
61-80: Half are good songs, half are weak
81-100: Great listening experience, almost all are great song
