Taken from Exile’s new instrumental opus, “Radio”, “Megamix” is a journey through the twisted mind of the man behind the boards on Blu & Exile’s CLASSIC “Below The Heavens”. Don’t overlook this joint based on say..umm, the first minute or so (which coincidentally reminds me of those “quiet storm” Thursday evenings they used to play on the “Hip Hop” stations back in the day…maybe the still do?). The real treat occurs near the 2:10 mark as Exile completely freaks one of my favorite “pop” records from back in the day. Yep, that’s right Wham’s (!), yes…Wham’s “Everything She Wants”, on this particular segment of the “Mega Mix”, Exile puts an irresistible spin on one of those records that I’ve always thought would serve as clever sample selection some day.
As far as the rest of the LP is concerned, I’ll just leave you with this: I’m not real huge on “instrumental” LP’s being that my mind usually seems to drift near the fifth track or so. However, with 14KT’s “The Golden Hour” being the most recent exception, I’m not afraid to say that Exile’s most recent offering isn’t slightly behind the aforementioned Lab Technicians phonenominal production showcased on his solo outing. Although, the record did seem a lil’ “weird” to say the least after the first few listens, it’s still leaves you shaking your head at the thought of hearing Blu spit on a few of these tracks.
“No more music for the suckers…No more music for the suckers….No more music for the suckers”. WTF Eric? I thought you were “keepin’ real Hip Hop alive”? I can here it now, Platinum Pied Pipers’ “Sanctuary” sure as hell isn’t “Hip Hop” nor would it even be considered “R & B” for that matter, but it’s hard to front on instrumentation and production like this. Taken from the Pipers’ new LP, “Abundance”, “Sanctuary” features production from Waajeed and Saadiq that may fall into the classification of “grown folks music for some”. However, it’s not to say that the majority of the joints that appear on “Abundance” won’t give your subwoofers a workout. Although you won’t find a single 16 bars on this record, it is one of the best releases in “music” in general that I’ve experienced thus far in 2009. “Abundance” is the record that Foreign Exchange’s “Leave It All Behind” should have aspired to be.
Woooooo!! Astronote (producer of Now On’s “All You Ever Knew” and the newest member of ASideWorldWide) nailed it with his remix for the Biggie mixtape-favorite “Come On” (aka “C’mon Muthafu*kas). Capturing the true spirit of Biggie, Astronote ventures away from the futuristic/eclectro production found on Now On’s “Tomorrow Already” to truly take it back to the era when Bad Boy was runnin’ tings. Hell, the production on this joint (I think the original was recorded somewhere between 93′-94′…no later than 1995, I’m sure) even makes Sadat X come off as “rejuvenated”. Astronote’s reworking of this track has to go down as one of my favorite Biggie remixes of all-time, the backdrop caters to some of the most classic verses that Biggie ever unleashed on the masses.
One listen to “Come On” and Biggie’s classic line, “release the brainstorm/Ta’ make your muthafuc*kin’ brain warm” will be embedded in your cranium for the rest of the month. If you haven’t peeped the best remix album on this side of Small Pro’s “Crooklyn Gangster”, slap yourself silly…Astronote captured the true essence of BK’s finest on “Bigger & Better”
Taken from Cunnin’s forthcoming LP, “Strange Journey Vol. I” (damn, can a brotha’ get a release date already?!), “Never Come Down” aka “The Brownie Song” features Natti and Deacon’s recollections of being waaay too high for their own good. Kno’s production on “Never Come Down” is simply astounding, nearing it’s apex at the 2:37 mark…truly beautiful production. An odd trio, no doubt..but the combo of Kno along with vocals from Natti and Deacon The Villian (truth be told: I’ve been enjoing Cunnin for over four years and I have one helluva’ time differentiating the vocals between Natti and Deacon to this day!) has faired very well with nearly every release they’ve produced thus far, “A Piece Of Strange” and ’07′s “Dirty Acres” remain as some of the best music of the decade.
Ilyas of Tanya Morgan is back with his newest venture, “The Prelude” which attempts to duplicate the success of last year’s free mixtape “Beat Thieves”. Being that i-EL’s “Telepathy” was one of my favorite tracks from ’08, I was quick to check out “The Prelude”. While I really haven’t given the mixtape more than one complete listen in full, one track that has been in constant rotation is “One Perfect Moment” f. Ink Floyd. Featuring production on two tracks (“Let’s Kick It” and “Balance”) from one of my favorite artists in the game, Ill Poetic, “The Prelude” is a nice little branch off from Il’s work as a member of the heralded underground trio, Tanya Morgan. However, surprisingly it’s this Slimkat-produced track that really has me looking forward to Tanya Morgan’s new LP, “Brooklynati”. And while some folks consider the lyrical stylings of Von Pea to be the strongest of the trio, I’ve always leaned towards Ilyas’ smooth, almost conversational delivery and unmistakable voice.
(Letting out a slight yawn) I hope I’m not wasting my breath when I say that I’m actaully looking forward to Rae’s “OB4CL II”? I mean, it’s been how long that we’ve been talking about this release? Damn, the push-backs and drama surrounding this release rivals that only Dre’s “Detox”. Well, in the meantime we have the RZA-produced, revisit to “Criminology”.
While it’s not as if RZA wasted a huge amount of effort to lace this joint with his production genius (being that the beat is just flipped slightly from it’s original), it’s still great to hear Rae & Ghost back in action, bouncing bars off of one another in a manner that is truly reminiscent of Raekwon’s solo debut. Jesus, I just can only hope that Raekwon gets some new cover artwork for his new album, being that the above pic has been floating around the internet for what seems like an eternity now.