CD REVIEW: GZA/GENIUS “PROTOOLS”

“All I need is a beat with a continuous loop and the live vibe that’ll hypnotize like the flute…” –GZA “Alphabets”

Hooray, GZA has a new CD out. We all know he can spit, but how do the beats sound on a CD he had the balls to call Protools? [Read more]

CD REVIEW: SKILLZ, THE MILLION DOLLAR BACKPACK

Shaquan Lewis aka Skillz ain’t mad no more. In fact, he sounds content with his place in hip hop on his new album, The Million Dollar Backpack. The album marks Skillz’ first release since 2005’s Confessions Of A Ghostwriter. His first CD, From Where??, was an undergound favorite in 1996 with a hit single that (that coincidentally inspired the name of this here website you’re reading) “The Nodfactor.”

There’s no doubt that Skillz is an immensely talented rapper, capable of amusing punchlines and engaging storytelling. But there is a big difference between doing a yearly “Rap-up” over someone else’s beat and putting out a project of your own. So what is Million Dollar Backpack really worth?

Backpack begins with Skillz tracing the journey of the backpack in hip-hop, from Buckshot to Kanye, over a mellow bassline and rimshots courtesy of DJ Jazzy Jeff (and maybe Al Green but we’ll let you all fight over it). But the difference between his 16-bar blitzkriegs on other people’s projects (ie “One MC, One DJ”) is that Skillz is more focused on concepts that punchlines for his own album. And for the most part the producers match his intensity note for note.

On “So Far, So Good” Usef Dinero gives Skillz and Common a lilting piano to reminisce on their place in hip hop and on the hilarious “My Phone” Fusion Unlimited provide the jazzy soundbed for Skillz “dreams of calling an Hollywood chick” style narrative. On “Hold Tight,” Skillz and Black Thought of the Roots rip a horny, pounding beat from ?uestlove and James Poyser and on the inspirational “I’m Gon Make It” Bink! wraps some organ notes around some frantic cymbal crashes matching Skillz Redbull-infused recollections of his childhood. “Preachin To the Choir” may not invoke the “oh shit” factor of stories like “Imagine” but it comes pretty damn close.

But the battle-rapper in Skillz is not dead. The Kwame-produced “Sick” is an epic brag rap where Skillz tells listeners just how long he’s been a one-man quarantine. Over what are probably the hardest kicks on the CD Skillz brags that “he was sick before Ye’ and Swizz Beatz knew how to chop them drums…” and on “Don’t Act Like You Don’t Know” has Skillz and Freeway spitting vicious verses over a “What We Do” sound-a-like produced by Orthodox and Ransum.

Unfortunately, some tracks feel like mixtape material–good without leaving a lasting impression. Filler like “Yeah You Know It” just drag down the proceedings and Skillz falters when he forces the R&B hand. He feels out of place like Buckshot at a P Diddy over the breathy hook and conga drums of “(For Real) He Don’t Own Me” and and the Jake One produced “Where I’ve Been.”

That said, the best tracks on Backpack are some of the best tracks I’ve heard this year, and prove that Skillz still deserves our attention in 2008. No matter what his backpack costs his flow is worth way more than 50 Cents any day.

Aaron Matthews

CD REVIEW: Tanya Morgan’s The Bridge EP

If you see a chick named Tanya Morgan in the street, slap her, cuz she’s perpetrating. Just jokes, but seriously. Tanya Morgan is not that girl you used to sweat during third period, they are a three man rap crew, consisting of Brooklyn-based MC/producer Von Pea and Cincinnati rappers Donwill and Ilyas. The Bridge EP is intended to be, well, a bridge between TM’s 2006 debut Moonlighting and the upcoming Brooklynati album.
Pea has stated in interviews that one of his goals in crafting the EP was to improve the mixing. He’s succeeded in getting a much better sounding mix on The Bridge, with the lows slinking under your Timbs and the hi-hats reaching New Era status.

The Bridge flows from track to track seamlessly, and the short length is welcome in a genre filled with self-indulgent 80 minute albums. The EP’s instrumentals adhere to soulful boom bap with an emphasis placed on vocal samples. By working closely with a tight-knit group of producers, the group has achieved a unified sound. Von Pea produced five of the album’s nine tracks, and the rest of the instrumentals were created by affiliate producers Brickbeats, Aeon, Mysterious Productions as well as 88-Keys (Black Star, Beanie Sigel, Musiq Soulchild).

A few tracks that stuck out for me: “Be You” featuring Czelena finds the TM emcees arguing for being yourself in a game that encourages rappers to mimic the next hot thing. “Filthier Interlude” brings to mind classic 90s posse cuts like Heavy D’s “Don’t Curse” with a syllable-stuffing verse from each member fighting to beat the clock on the barely two-minute cut.

Production wise, the electro sounding roller rink jam “How Low” is the only track that sounds out of place, but it’s a bonus track, so they’re forgiven.The Bridge’s true closer is “Hip Hop Is Dead II” where Von, Don, and Ilyas address the current state of hip-hop, ending with the refrain, “they keep saying hip hop is dead, but I can’t see it/I just can’t see it.”

As long as quality rappers like Tanya Morgan are dropping new material, I can’t see it either.

– Aaron Matthews

Mixtape Review: 88 Keys’ Adam Case Files

88-Keys is a versatile producer who has worked with a diverse selection of artists ranging from Black Star to Beanie Sigel to Musiq Soulchild. Adam’s Case Files is a mixtape intended as a prelude to The Death of Adam, his upcoming concept album about relationships. The songs explore the ups and downs of relationships from a man’s point of view. Keys narrates the mixtape and explains what happened to his friend Adam before his untimely passing. The tape sounds cohesive, as the songs are connected by the dusty, sped-up samples that start each track. Rappers featured on Files include Guilty Simpson, Mr. Bentley, Izza Kizza, Serius Jones, the group Tanya Morgan & 88-Keys himself.

The beats are appealingly soulful, often built on stuttered samples chopped 9th Wonder style.
A few of the emcees work well with Keys’ sound and effectively play off the themes that the tape is structured around. These pairings result in the best tracks. On “Cuddle Bums,” the three emcees in Tanya Morgan kick verses about their girls, accompanied by gentle keys and a warm guitar loop. Simpson’s gravely venting of his girl problems on “Just LIKE A Man” is another highlight. On the entertaining “Wasting My Minutes,” Kid Cudi rap-sings about an airhead girlfriend over 88-Keys’ bouncy keyboards and claps.

Unfortunately for the most part, the quality beats are wasted on the lacklustre raps kicked by the guests. Hopefully The Death Of Adam will fare better with features from Redman, Kanye West, Bilal and Phonte of Little Brother, among others. -Aaron Matthews

Download a free copy HERE

CD Review: N.E.R.D’s Seeing Sounds

From the jump N.E.R.D’s new CD Seeing Sounds smacks me over the head with nostalgia. The cinematic intro to “Time for Some Action” borrows from the score to the movie “Psycho,” a little trick that Busta Rhymes pulled for the video to “Gimme Some More” almost ten years ago. And then after about a minute this rumbling bass and drum combo stirs up memories of the Dismasters’ “Small Time Hustler” from the recesses of my subconscious. By the time its over I’m still not sure what I’ve listened to, which is how I feel throughout much of this CD.

Chuckling is involuntary during “Everyone Nose” with its chant of “all the girls standing in the line for the bathroom,” but “Windows” sounds like it was trying too hard to be Gnarles Barkley and its cheesy guitar and claps sound more like Toni Basil’s “Mickey” chopped and screwed.

On “Anti Matter” Pharrell exploits the lowered bar of lyricism in hip-hop and has developed into a more than tolerable MC, but N.E.R.D is at their best when they aren’t trying too hard. “Yeah You” has great replay value with a stripped down bass line and saxophone melody meshed with a quirky love/hate message tailor-made for internet age love affairs. “Sooner or Later” is just screaming for a cameo from EPMD or Biz Markie with its use of that vintage Joe Tex “Papa Was Too” drum loop but it remains distinctly N.E.R.D with its soothing piano melody and quirky hook.

Unfortunately, “Happy” and “Kill Joy” are straight fast-forward material and the only thing salvageable from the conceptual mess of “Love Bomb” is the beat that they should have given to Common or one of their regulars. The aptly titled “Laugh About It” is what some listeners will do when they reach the end of this collection depending on how many hallucinogens they’ve ingested to get through it.

Overall, Seeing Sounds has flashes of goodness but feels like the Neptunes put it together with their eyes wide shut.

CD Review: J-Live’s Then What Happened?

Disclaimer, this is not an objective review which is why it’s taken so long to write it. I know J-Live, have spoken to him on many occasions. I only even knew this CD was coming out because I called him on his phone to ask him what he was up to. If that’s a little too honest for ya’ll, tough.

Anyway, I’ve always admired J as a lyricist but this review is about the beats. To this day All of The Above sits as my favorite of his projects because the beats complemented his intricate word play. Like many of you I was not blown away by the instrumentation on The Here After (with the exception of the jazzy “Listening” and guitar-flavored “Harder “) and was intrigued at his explanation of what happened. I copped the Reveal The Secret EP and was extremely pleased with the sample heavy, scratch-laden soundscapes he got from the likes of Jazzy Jeff, Da Beatminerz, etc. “The Incredible” and “Feel Like Spittin” were on constant rotation in my iPod until I could get my hands on Then What Happened?

Now the good side of Then What Happened? is that it is a 1000% percent improvement over the beats on The Here After. The xylophones and scratches on “It Don’t Stop” go great with the drums and the melancholy rhodes and trumpet on “The Last Third” are a fitting conclusion to that series. As for head nodding ear candy the CD doesn’t get better than “The Understanding” and “The Upgrade.” They come closest to the energy of the EP and gave the sub woofers in my truck a nice workout. A close third is DJ Spinna’s “We Are!” with its soulful moans and claps from “Long Red.”

Somewhere in the middle “Simmer Down” “Be No Slave” and “The Zone” do their part to keep the party going. But unlike the above cuts they haven’t migrated into my roadtrip playlists on their own merit. Nevertheless the drums and claps on “The Zone” are ripe for cutting and “Simmer Down” could be ill in an indie movie soundtrack.

Bad side? There really isn’t a “bad” side, just songs I could have lived without. Maybe a lil too subdued or left of center the beats on “Ole,” “One to 31″ and “What You Holdin” didn’t have much replay value for me. And the drums on “You Out There” were just too weak and the synths sounded way too artificial.

I personally think there were cuts from the EP that should have made the final CD so what I’ve done is created a wish list of what is my ultimate J-Live CD, Reveal What Happened, made up of cuts from Then What Happened ? and Reveal The Secret in this sequence:

1) It Don’t Stop

2) Feel Like Spittin

3) We Are!

4) The Understanding

5) The Last Third

6) Red Light Green Light

7) The Upgrade

The Incredible

9) The Zone

10) Practice (The Magnificent Remix)

And for someone with as much to say as J I wouldn’t have minded a skit/interlude or two to weave it all together. Maybe excerpts from an interview with a certain website:) Peace Justice.

Jerry L. Barrow

Mixtape Review: Skillz, J. Period and Don Cannon-Design of a Decade

Skillz – Design Of A Decade v.1 (The 90s) (hosted by J Period & Don Cannon)

Shaquan Lewis aka Skillz is an immensely talented rapper. Unfortunately, he’s been overshadowed by the name brand artists for whom he ghostwrites. And while he often brags of being “your favourite rapper’s favourite rapper,” he’s released just two full-lengths over his 12-year career. [Read more]

Bun B’s 2 Trill Recruits Underground Kings

With an O.G. flow and to-the-point lyrical content Bun B has established himself as one of the South’s elder statesmen on the microphone. For his second solo CD, II Trill, he doesn’t stray too far from the southern comfort zone of heavy 808s, synths and hi-hats but there are several surprises that help it stand out.

 

Ironically some of the strongest beats on the CD come from outside the south. Boston’s Clinton Sparks opens things up on the title cut with some frantic hi-hats and claps establishing Bun B’s sense of urgency. Self Scientifics DJ Khalil bangs out “Another Soldier” with some waling guitar and drums that have lived a hard knock life. And Chops blesses 3 cuts with “Keep It 100″ being the best of the trio. His slithering bass on “Damn I’m Cold” would have done great with Devin The Dude on the hook, (maybe because it reminds me vaguely of my favorite DTD track, “Just Tryin To Live.”)

Enigma brings the marching band brass attitude on “Swang On ‘Em” and on “Get Cha Issue” Bigg Tyme lays the bed for one of the most quotable songs on the CD. Funky keys and guitar give it a pimptastic modern day western feel.

 

Sample wise the choices are a little too obvious for my taste but they serve the purpose of broadening Bun’s audience. Mr. Lee flips Jodeci’s “Cry For You” on “You’re Everything” and on “Good II Me” Bigg Tyme replays what else? “Just Be Good To Me” by the S.O.S band. However, “Underground Thang” gets some 70s swagger thanks to Cory Mo’s use of “Stepping Out” by Steel Pulse. The only one I can’t hate on is the “Angel In the sky” that tweaks Stevie Wonders “Ribbon in the sky” because its a tribute to the late Pimp C.

Big namers like Jazze Pha, J.R. Rotem and Scott Storch will get Bun his radio and club spins but sonically, 2 Trill belongs to the underground kings behind the boards.

-Jerry L. Barrow

 

 

 

Review: Buckshot and 9th Wonder’s The Formula

“Some of your LPs/stand for ‘long punishment’ ” – Buckshot, “No Future”

If it ain’t broke don’t fix it. The Formula is the second full length to come from the partnership of Black Moon MC Buckshot and former Little Brother producer 9^th Wonder. Sonically, The Formula is mastered better than their first collaboration, 2005’s Chemistry, with the beats hitting harder and the production sounding crisper. But 9^th Wonder’s production gives the album the same lush and soulful vibe that his fans seek and Buckshot flows nicely over his midtempo beats. The Formula’s consistency is both its greatest strength and greatest liability; the problem is, neither emcee nor producer really leaves their comfort zone. 9^th Wonder does great work but his airy samples and signature drums can grow repetitive for first time listeners. The seamless nature of The Formula makes the songs blend together. The album would also have benefitted from more guest spots, as Buckshot’s unwavering delivery wears after a while. But Buck’s trademark sing song/toast perfected on Enta Da Stage still sounds good, and he still comes with the street-smart punch lines that made records like “I Got Cha Opin” so memorable.
9ths campain for Adult Contemporary hip-hop has entered its next phase. R&B singers like Carlitta Durand add sung choruses to several songs, lending the album a smoother, more mature steez than its more rugged, Beatminerz-influenced predecessor. Where Buckshot once threatened to buck down weak emcees who stepped to him, he’s switched up his style as befits an elder statesman. Now he kicks the truth to the youth, rapping: “I don’t preach/but I do teach/my little homies in the hood how to outreach.”

While the songs may be a bit similar sounding at times, it’s encouraging to see a rapper working with a single producer on an album. And The Formula’s highlights more than make up for the duller tracks. Lyrically the best tracks include “Go All Out”, “Hold It Down” featuring Talib Kweli and Tyler Woods, “Shinin’ Y’All” & “Man Listen”. -Aaron Matthews

Jay-Z Get’s Mobbed: Hasan Insane’s “Black Caesar” Mixtape

After crafting audible treats like an “Allure” remix with a sick saxophone and 16 bars from Nas for the An American Gangster Mixtape producer/DJ Hasan Insane is back with another Jay-Z inspired project entitled Black Caesar. At first glance it’s easy to think “damn, more American Gangster rehash?” But that was pieced together with older acapellas while this uses the “official” verses. Jay’s voice and flow is just perfect for remixing and it’s about time folks talked about Jigga without the words “and beyonce” following right behind.

What makes Hasan’s remixes so good is his ability to find samples that match the mood of the original without sound anything like it. While his version of “American Dreamin” doesn’t knock the Marvin Gaye flavored original, it holds its own with a jazzy guitar loop, some drums that hit a little softer and well placed vocal scratches.

In addition to his beats, Insane has a knack for adding guest vocals that is down right scary. For example, adding Big Boi and Pimp C to “Party Life” is an inspired touch that should give American Gangster some fresh legs going into the summer.

So if the F.E.D.S. don’t have your computer tapped check out a copy of Black Caeasar. The tracklisting is below. Peep clips at Hasan’s Myspace page:

01. INTRO
02. PRAY FEAT. RAEKWON (HASAN INSANE REMIX)
03. AMERICAN DREAMIN FEAT. NAS (HASAN INSANE REMIX
04. HELLO BROOKLYN 3.0 FEAT. LIL’ WAYNE, THE NOTORIOUS BIG & OL’ DIRTY BASTARD (HASAN INSANE REMIX)
05. NO HOOK FEAT. YOUNG JEEZY (HASAN INSANE REMIX)
06. ROC BOYS FEAT. KANYE WEST (HASAN INSANE REMIX)
07. SWEET FEAT. JADAKISS (HASAN INSANE REMIX
08. I KNOW FEAT. T.I. & PHARRELL (HASAN INSANE REMIX)
09. PARTY LIFE FEAT. BIG BOI, PIMP C & CARLITTA DURAND (HASAN INSANE REMIX)
10. IGNORANT SH*T FEAT. LUPE FIASCO (HASAN INSANE REMIX)
11. SAY HELLO FEAT. SCARFACE (HASAN INSANE REMIX)
12. SUCCESS FEAT. GHOSTFACE (HASAN INSANE REMIX)
13. FALLEN FEAT. BEANIE SIGEL & JESSE BOYKINS III (HASAN INSANE REMIX)
**BONUS**
AMERICAN GANGSTER (HASAN INSANE REMIX)

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