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)

Daily Conversation: The best produced album you’ve never heard

I’m officially a sleeper. I’d met this brother Torae on two different occasions and politely gave him a pound each time before registering who exactly he was. But rather than cop an attitude about having to introduce himself twice he confidently handed me a copy of his CD, Daily Conversation, and simply told me to play it. Torae, if you’re reading this, I’m saying to the world: “MY BAD, BROTHER.”

I’m not going to even spend a lot of time telling you how lyrically nice this Brooklynite is. He’s nice, period. Not just cuz I said so, but because the producers that laced this album wouldn’t give this much heat to a lame. Track after track heavy hitters like DJ Premier, Khrysis, 9th Wonder, Black Milk and Marco Polo pulled out the stops for this man.

I’m not sure who Eric G is but he started this CD off with a spiked bat to your head on “Callin Me.” I’m gonna have to start a whole new section named “Who Did That?” just to talk to this man. For Real.

Khrysis kills it on “Something to See”(piano is crazy) “Save The Day” (that’s some ‘08 throwback ish for real) and “Da Nigguz Is Comin.” (Did Evil D flip that sample at Beat Society a few years ago? Can’t remember, but you still drew chalk lines around that beat, man.)

Black Milk continues to impress on “Switch.” I love how he channels Dilla without biting him outright. The cavernous drums almost set off my airbags, dunny.

Premier gives him not one but TWO pieces of Kryptonite (heat rocks sounds so 1995) on “Click” and “Get It Done.” Anyone who has held their release date waiting on ONE Preemo beat knows what big deal that is. Salute.

9th seems to really be feeling that move to the MPC cuz the swing on “Fantaztik 4 “is Ben Grim status. It’s clobbering time!

Basically, I’m saying go out and cop Daily Conversation because I haven’t heard beats this hard on a debut since…man, I dunno. I dare you to pick a beat you don’t like. Props to Torae. I may change my ratings system weekly so I give the beats on Daily Conversation 5 Tannoys out of 5. –Jerry L. Barrow

Pete Rock takes over for Eli Manning

“I should have called this New York Giants!” Pete told a crowd recently, and he’s right…

Everyone from NY knows that our relationship with “new york’s finest” (aka the police) is a little sketchy. But questionable titles aside, Pete Rock has finally blessed us with the long awaited follow-up to Soul Survivor 2.

The most dramatic difference between this and its predecessors is the focus on Pete as an MC. While the long list of guests like Jim Jones, Royal Flush, Little Brother, Styles and Sheek keep this squarely in the compilation category, Pete makes sure you know this is HIS project. But listening to a Pete Rock album for Pete Rock lyrics is like watching Spike Lee flicks for his acting cameos–you’re missing the point. Pete could rap like the second coming of Notorious B.I.G. but if the beats don’t rock then the streets won’t cop.

So how are the beats? Over the years Pete has steered away from his signatures (jazzy horns with a hint of reverb and filtered bass lines over pounding drums) in order not to be pigeon-holed, but he’s still a chop master. While I don’t want to set off the snitch alarm (none of the samples are credited on the CD) what he did on “We Roll” is nothing short of genius. His manipulation of a very, very classic piece of 70s soul makes it almost unrecognizable and proves that with a little imagination you can take a pile of sand that everybody’s walked on and make glass.

This is further evidenced on “914″ featuring Styles and Sheek. Putting some stank on the classic Skull Snaps drum break, Pete weaves in several familiar elements into a completely original composition. However, “Best Believe” and “Til I Retire” are examples of the “new” Pete Rock; tightly chopped samples with simpler drums over thicker bass lines. On the other hand, “Questions” and “Bring Ya’ll Back” is more “vintage” Pete Rock, where he lets the sample breath a little more with conservative use of dark and moody horns over dirty drums. The best compromise between his old and new styles is the “The Best Kept Secret” featuring Lords of the Underground. Pete has always been great at sampling piano and here he balances the jazzy keys with thick bass and drums that sound more analog and dusty. For contrast listen to the clean drums, shakers and piano on “That’s What I’m Talking About” featuring Rell that are more ‘07/’08 style.

The nodfactor is in the redzone on “PJs” which flaunts the same “funky worm” bass line sample as Large Professor’s “Mad Scientist.” ( I know that’s not what’s its called but you diggers know what I’m talking about.) But it’s been out for so long that it lacks the same punch as the new material.

The only beat Pete didn’t do was Green Lantern’s “Don’t Be Mad.” While it features some cool turntable tricks, it’s much closer to the mid tempo joint he gave Immortal Technique on “Bin Laden” than the over-the-top sample gymnastics of Ludacris’ “Number One Spot” or Busta’s “In The Ghetto.” Granted, those are two of the most animated MCS in the game and better suited to handle that kind of energy, but I’d contend that Pete’s flow is so straight on that a little more color in the beat couldn’t have hurt.

Regardless of who’s track it is, at the end of the day NY’s Finest more than passes Nodfactor.com’s “no words” test: would we bang the instrumental of this album? ABSOLUTELY. After twenty years in the game Pete Rock is still not only one of New York’s finest producers, but one of the finest, period. The champ is here.

Think I’m wrong? Speak ya clout in the comments section…

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