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Eric’s Favorite:

“Business Never Personal”-EPMD (1992, Def Jam) (click to DL CD Rip)

Purchase “Business…” via Amazon

With three classics already under their respective belts (88′s “Strictly Business”, 89′s “Unfinished Business” and 90′s “Business As Usual “), EPMD broke their trend of releasing an album a year with the release of “Business Never Personal” in the summer of 1992.  To make the release of this album even more intriguing it was rumored that this was to be EPMD’s final album recorded as a duo, which did serve to be quite accurate with Erick Sermon and Parrish Smith later re-uniting for the appropriately titled “Back In Business” (released in 1997).  While  EPMD’s sophomore album “Unfinished Business” served to be my first taste of the duo (*pause*) via their video for the CLASSIC “So Whatcha’ Sayin” (as I would cop their debut “Strictly Business” many years thereafter), I was honestly was a bit let down by “Business As Usual”.  Even from the album featured “I’m Mad”, “Give The People”, “Funky Piano” and Redman’s best verse ever recorded to date for “Hardcore”, I was truly amped for EPMD to truly “blow-up” with “Business Never Personal” (even though in retrospect “Business As Usual” is a solid 9/10 if you ask me!).  Am I confusing you with all this “Business” yet?  Follow along with me for just a moment.

At the time of it’s arrival “Business Never Personal” was the perfect “parting gift” from EPMD to it’s die-hard fans (I see you Jaz!).  Not only did Parrish and Erick proceed to unleash their best work to date, but the album was crafted in a near-”Illmatic” fashion, clocking in at only 11 tracks deep…with three tracks (“Boon Dox”, “Nobody’s Safe Chump” and “Chill”) less than 3 minutes in length, nonetheless!  By the time the album’s finale, the continuation of the “Jane” series “Who Killed Jane?” came to it’s fitting end you weren’t actually left yearning for more (think Nas’ “It Ain’t Hard To Tell” at the closure of “Illmatic), but rather satisfied with the healthy serving of groggy funk you’d received.  Man, these cats were actually goin’ out on top, much like Jordan when he crossed over Bryon Russell and hit the “J” to give the Bulls the ‘Chip over the Jazz..or Jay after his release of “The Blueprint”.  However, much like their companions EPMD “couldn’t leave rap alone” and went on to tarnish their legacy a bit with the release of sub-par solo efforts.  I actually found Erick and Parrish’s solo albums somewhat enjoyable, but at the end of the day they just couldn’t match the quality of work that the duo put out together.

With the debut single from “…Never Personal”, “Crossover” EPMD threw a bone to an ever-changing rap audience in an attempt for actual “crossover” appeal…quite blatantly.  Frankly, even if the title stated so, “Crossover” despite it’s attractive Zapp sample was every bit as street as the rest of their music, which in turn negating any “sell-out” references from the underground.  The remainder of the album is as dirty and murky as only EPMD could get but just as equally captivating.  From the album’s intro-of-sorts, “Boon Dox” to the rowdy, Hit Squad featured anthem “Headbanger” to the change of pace “Scratch Bring It Back Pt.2″ (Mic Doc) (damn, Erick kills it with lyrics like: “Freakin’ the bassline/Shaking your rump/Squeezin’ my Reebok Pumps ta’ Kriss Kross/Then Jump!”), “Business Never Personal” was one of the most intense, yet minimalistic albums that you’ll ever hear.  Simply stated, a CLASSIC, maybe one of my top 15 albums of all-time.  To top it off, it wasn’t as if Erick and Parrish hadn’t announced the “split” that followed enough, they did so on the album’s final track where they killed off the ever-popular “Jane”.  However, you will never “kill-off” the vibe, feel and chemistry that EPMD possessed on the album, no matter what anyone says..would never the same after this (sadly).

The Slept-On:

“Put Ya’ Boots On”-Double XX Posse (1992, Big Beat)

Purchase “Put Ya’ Boots On” via Amazon

Does anyone else vividly recall Will Smith dancing his ass off to the sounds of Double XX Posse’s anthem, “Not Gonna’ Be Able To Do It” on a lost episode of “The Fresh Prince Of Bel-Air”?  Ahhh, remember those days when you could cop a fresh pair of J’s for around 100 bones?  The true definition of “slept-on”, Double XX Posse dropped a beast of a debut LP with “Put Ya’ Boots On” in 1992.   Some may also recall that the group first emerged on the Hip Hop scene as M.C. Sugar Ray & Stranger D with their 1989 single release,  “Knock Em Out Sugar Ray” only to expand a few years later for the release of this album.   Later dropping an “X” from their moniker as they released yet another criminally slept-on LP in 1995, “Ruff, Rugged & Raw” under the moniker of Double X.

Double XX’s debut spawned the release of two very successful singles. The first and most recognizable cut from the album, the aforementioned “Not Gonna Be Able To Do It” went on to reach #1 on the Billboard Hot Rap Singles in 1992, and also reached 68 on the Hot R&B/Hip-Hop Singles & Tracks chart in 1993 (thanks Wikipedia!!).  The second single which you may also recall (shit, it seemed as both of these would find a spot on The Source’s “Fat Tape” for nearly six months straight!) and final single released from the album, the police-brutality addressed “Head Cracker”, reached #15 on the Hot Rap Singles chart as well.  Not bad, at least for an album that goes largely unnoticed when talking about great albums from the early-nineties.

The production on the album is really nice, straight up East Coast hardcore, what you could expect from an album that was executive produced by the likes of Daddy Reef and Stretch Armstrong.  Oh, and did I forget to mention that “Put Ya’ Boots On” also featured knockin’ beats from T-Ray (Artifacts amongst others) and the LG Experience (Ill Al Skratch)? Aside from the obvious highlight (“Not Gonna…”), other tracks that equally hit as hard the fittingly titled “School Of Hard Knocks” (which, also sounds like something that was left off the “Hard Knocks” album strangely enough) and”We Got It Goin’ On” (produced by BK) which was a very funky, danceable joint.

Even though the production on the album has aged a bit (as expected), it’s good to know that Double XX stepped things up a with both the beats and the rhymes on their 1995 sophomore release.  Damn, I almost forgot to mention the lyrics that appear on “Put Ya Boots On”.  Well, my man Sugar Ray is the man with the plan on this album, a dude that has a very unique delivery and a gruff almost strained voice that sounded so damn fresh on wax!  If I had coin to cop this album or “Ruff, Rugged & Raw”, I’d have to go with the later.  However, it’s not to say that this album wasn’t up to snuff with the majority of sh*t that was poppin’ off in 1992, it just needed some tightening up..which they did admirably on their sophomore LP.

The Unheard:

“Straight From The Soul”-Rough House Survivors (1992, Relativity)

Purchase “Straight From The Soul” via Amazon

Ehhh, the trio of DJ Swinn and emcess Dread One & Kev aka the Rough House Survivors are maybe not so much “unheard”, due to the fact that the remix for the crew’s debut single “Rough House” (which I actually found the cardboard black and white casing for the cassette single while digging in my attic last weekend) was remixed by none other than the Soul Brother #1, Pete Rock, whom at the time was “saving groups” with his stellar production.  Not to say that Rough House actually needed any “saving”, but seeing the name “Pete Rock” on the production credits did enable me to cop the single, thus leading to the purchase of “Straight From The Soul”, even though I believe the single didn’t actually drop until a year after the album’s release in the winter of ’93.

You can actually find “Straight From The Soul” for a fairly decent price nowadays at your local Hastings or used CD outlet as I’ve seen this album on numerous occasions priced under $3.00…don’t think for one second that I hesitated picking this overlooked gem up when I first spotted it!  With the exception of one track (the album’s finale “Stick Da Butt Out” was produced by none other than Grand Puba), the majority of the production was handled by one of the most important, if not the most…slept-on producers of the Golden Era, Tony Dofat.  Tony’s thick basslines and signature horn loops serve as the highlight of the album, but in general, the album is very cohesive and plays out quite nicely considering that it’s been nearly 17 (!) years since it’s release….damn, I’m gettin’ old!!

Nowadays, after listening to the album “Straight From The Soul”, it truly captures the overall “feel” of the 92′-94′ era. The aforementioned emcees possess a nice chemistry, flipping rhymes off one another a la A Tribe Called Quest or Leaders of the New School in a very energetic fashion.  Hell, even Pete’s partner in crime, CL Smooth makes an appearance on “Can U Dig It”, while Brand Nubian’s Sadat X joins the party on “We Come To Get Wreck”, which was also one of the album’s strongest tracks.  The album clocks in at only ten tracks deep and unfortunately DOES NOT include the Pete Rock remix for “Rough House”.  While the album does have it’s pitfalls (at times the subject matter tends to lie on the generic side), it doesn’t grant much time for filler material.

“Straight From the Soul” was an excellent hip hop album crafted in the heart of Hip Hop (N.Y.C.) during the music’s heyday.  Cats have been sleeping on this album for years, do yourself a favor and don’t hesitate to “let the cat outta’ the bag”!

Eric’s Favorite (The CLASSIC):  “Naughty By Nature”-Naughty By Nature (1991, Tommy Boy)

Purchase “Naughty…” via Amazon (for $1.16 used)

Initially proclaimed “New Style”, Treach, Vinnie aka Vin Roc and producer extraordinaire Kay Gee emerged from the cruddiest (per their own admission) surroundings of NJ, East Orange, forming like Voltron to murder talent shows while attending High School together (BTW, I still haven’t heard “Independent Leaders” yet!  Is it worth the listen?).  It was also their notable talent show performances that landed them”in arms” with Queen Latifah and the Flavor Unit, which soon led to a deal with (to quote GZA) “Tommy (ain’t my muthafu*kin’) Boy”.

Released in 1991, Naughty’s self-titled debut featured one of the largest, most addictive “crossover” hits in Hip Hop history, the Jackson 5-sampled classic “O.P.P.”  With it’s appeal to all races, creeds and colors, “O.P.P.” was a tongue in cheek anthem that to this day can still be heard at your favorite sporting event or night club.  However, don’t get it twisted there’s more to Naughty’s debut than just “O.P.P”, and just as if you thought that may have been the case, just one listen to the album’s opener “Yoke The Joker” and Naughty will set you straight!  The beauty of this album was Naughty’s ability to appeal to both the street smart hardrocks on the block and your average Joe who used ta’ “tight roll” his 501′s (damn, I miss those days!) atop his infrared Air Jordan IV’s.

“Naughty By Nature” is both a pop and Hip Hop CLASSIC that shifts from the old-school, back and forth feel of anthems such as “Pin The Tail On The Donkey” to the knuckle-up, beat your brains in bounce of “Guard Your Grill” (the ultimate B-Side anthem) to the emotionally-driven sounds of “Ghetto Bastard” (Everything’s Gonna’ Be Alright) all on one album.  Plus, Treach, when he wasn’t delivering his lyrics in rapid-fire fashion, even showcased his patois on the bouncy “Wickedest Man Alive”.  Also, who can forget, what may very well be Naughty’s biggest “street” hit to date, with “Uptown Anthem” which appeared on the “Juice” original soundtrack.  Both for the streets and for the clubs, this album is a “must-have” for nearly anyone.

Not to be overlooked (which is usually the case when listing some of Hip Hop’s most astute beatmakers) Kay Gee’s production was both melodic and very soulful yet had a hard, very street edge to it.  Kay blended traditional funk loops with soulful melodies and his trademark keyboards, while lacing Naughty with some of the industries biggest street anthems ever.  If there’s one thing that Kay, Treach and Vinnie will always be remembered for, it was their ability to churn out irresistible hits without being labeled and “sell-outs”.  Knuckle up, this album was a certified CLASSIC!!

“The Slept-On”-“Hazardous”-Godfather Don (1991, Select)

Purchase “Hazardous” via Amazon (Good Luck findin’ this one)

Mostly recognized for his work with Ultramag’s Kool Keith as a member of the Cenobites, Godfather Don cemented his name in New York’s underground with his debut release “Hazardous” (Select)…even if it wasn’t until a decade or so after it’s initial release.  Even though Don is thought of as a “producer” first and an emcee second, “Hazardous” was a hard-hitting debut that featured some classic production and an MC who could have just as easily been mistaken for Chuck D, due to their similar flows and deliveries.

My first exposure to Godfather Don was on Ultramagnetic’s “The Four Horsemen” on the ridiculously fresh “Raise It Up”, which Don also handled the production for.  And speaking of production, it’s no secret that Don handled all the beats for “Hazardous”, churning out banger after banger that…looking back on it..we’re pretty futuristic for 1991.  I mean, listening to “Hazardous” this past weekend, for what may have been the first time in two years or so, this album sounds current to a certain extent.  It’s easily withstood the test of time, perhaps due justification of why this album is favored by soo many underground heads seeking that “vintage” sound.  Godfather Don has also succeeded in keeping himself relatively “current” over the years following the release of this debut and 1999′s “Diabolique” (Hydra) working with artists such as Screwball (handling a fair amount of production on the crew’s albums), Sir Menelik, Ayatollah and the aforementioned Kool Keith.  Don also release “The Nineties Sessions” in 2007, an album that featured a plethora of unreleased material from one of the 90′s finest producers, pick it up if you can-it’s well worth the purchase price.

While Don was enjoying this mid-Nineties reemergence as a recording artist, he was also excelling as a producer. Alongside V.I.C. (of Beatnuts fame) he formed The Groove Merchantz, and the duo produced and remixed tracks for the likes of Nas (oooohhhh, just how dope was the remix for “One Love”?), House Of Pain (“On Point”), Kurious (the B-Side anthem, “A Mansion And A Yacht”), and others.  Damn, I wish more cats would take note of “Hazardous”, hands-down one of the best album’s that 1991 had to offer!

“The Unheard”-“Valoompadoom Pink”-E.S.P. (1991, Select)

Purchase “Valoompadoom Pink” via Amazon (tape only)

Hold up a minute! I know your looking at the title of E.S.P.’s “Valloompadoom Pink…” and thinking to yourself: “What in the hell is this sh*t?!”. I’m here to tell you, this album is surprisingly……good! Thanks to the almighty “Bust The Facts” I was introduced to this strangely titled disc by the three man crew that comprised E.S.P. (which was an acronym for each of the three member’s aliases). Little is known on the origin of this trio, as it was truly a task to find an info on the net’. Before I actually sat down and listened to the album nearly a year ago, I felt compelled to peep Discogs to see just who these cats were. I was surprised to find out that Hitman Howie Tee produced three cuts on the album. The correlation makes sense being that Howie had a heavy involvement in Chubb Rock’s production, and of course, Chubb happened to be on the Select Records imprint as well.

The album starts off with a nice intro, “Been A Long Time”, which incorporates the same loop that Ghostface popularized with his usage for “Daytona 500″. The good intro was key, because if some “lovey dovey” bullsh*t” would have blasted thru the speakers there may have been a decent chance that I would’ve moved on to the next album. The hook for “Makin’ Nat’ Green” serves as a clever play on Schooly D’s infamous “P.S.K…”, while it also features a very familiar sample that’s extremely easy on the ears. Not too disappoint, Howie Tee comes through with top-notch production on the album with “One, Two, An A..”. The track, which really reminds me alot of Chubb’s “Just The Two Of Us”, has a bit of a reggae vibe to it, yet the rolling bass undertones solidify it’s edginess. And the Chubb Rock comparisons don’t end there, “One, Two, An A..” also features Chubb’s girl Lady Kazan (“Lady Kazan/My homegirl..peace!”, from “Treat Em’ Right”) The majority of the tracks on the album are heavily reliant on overused samples, well, I say overused now, but back in 1991 this album…production-wise….could have hung with the best of em’. I would have to say that “Valoompadoom..” reminds me of what Leaders of The New School’s “A Future Without A Past” and K.M.D.’s “Mr. Hood” would sound like if they were meshed together.

Lyrically, each of the emcees have a very laidback, smooth, yet mellow flow. Even though they may not be raising the bar with lyrics that make you reach for the rewind button, each of their voices blends effortlessly with the superb production. If you want to be surprised by an album that you’ve probably never heard, “Valoompadoom Pink…” is it! It’s not the type of album that I just threw in the headphones to give my “two cents”, this is an album that is….no, has been in rotation over the course of the year. Don’t miss out on this one!

“Soul Food”-Def Jef (1991, Delicious Vinyl)

My first exposure to the Bronx-bred, Los Angeles relocated Def Jef came via the Fox comedy series “In Living Color” with the Fly Girls gyrating their hips to the sounds of Jef’s biggest smash to date, “Black To The Future”.  Then later I would take notice to Jef when he delivered an exceptional verse for the “West Coast meets for a good cause” track, the anti-gang violence anthem “We’re All In The Same Gang”.  Also, if you paid very close attention you may have also caught a glimpe of Jef in the movie “Deep Cover”.  Even though I passed on Def Jef’s debut effort “Just A Poet With Soul” that dropped two years prior in 1989, I made it a point to scoop up Jef’s sophomore effort, the highly sociopolitical “Soul Food”.  Of course, Jef was signed to the same roster that boasted huge hits from the likes of Young MC and Tone Loc, but it was Def Jef who delivered some of the label’s most potent product prior to the arrival of the Pharcyde.  Some of you may be even more familiar with Jef from his production work he did after his emcee career came to an end, for the likes of Nas (“Life’s A Bitch” Arsenal Mix), Boss (“Deeper”), Snoop (“Betta Dayz” from Snoop’s “No Limit Top Dogg”)  and even Shaquille O’Neal (I Know I Got “Skillz”), than by his first-rate lyrical abilites.

While Jef’s debut, the aforementioned “Just A Poet With Soul”, may not have moved near as many units as Tone Loc’s “Loc’d After Dark” or Young MC’s “Stone Cold Rhymin”,  cuts like the Etta James featured “Droppin’ Rhymes On Drums” and “God Made Me Funky” made it quite clear that Jef was more than capable on the mic.  Def also injected a heavy dose of reality into cuts like the exhilarating “Downtown” and “Black To The Future”, devoting more time to deliver the “message” than your typical braggin’ and boasting rhymes that were so heavy in the late-80′s.  Def followed up his debut with the equally fresh “Soul Food”, but sadly that’s where Jef’s recording career ceased due to the fact that he never really gained the critical acclaim that both of the albums deserved.  Again, on “Soul Food” Jef is at his best on political cuts like “Don’t Sleep” and “Get Up 4 The Get Down”, while the reggae-tinged “Voice Of A New Generation” was slighty run-of-the-mill, but catchy in it’s own way.  Even when Jef veered from his typical lyrical path on cuts like the Tone Loc-assisted “Cali’s All That” and “Here We Go Again” he still proved that he could hang with the best of em’ while crafting tracks that were very danceable but also offered your brain a workout as well.

Even though Jef was based in California when he dropped “Just A Poet…” and “Soul Food”, he still dropped two albums that sounded as if his heart was still in the East, conjuring up memories of his upbringing in the neighborhoods that blessed us with legendary greats such as Kurtis Blow and Grandmaster Flash & The Furious Five.

“Volume 1″-Powerule (1991, Interscope)

Many people believe that the early 90′s crew Powerule consisted of just one person, when it was actually comprised of  three native New Yorkers,  MC Prince Power, Vill and DJ Ax. The first Powerule single to make any significant noize was “Brick In The Wall” which was distributed by the little-know Revenge Records in 1990.  Powerule later signed to Interscope and began working on their debut “Volume 1″.  However, it wasn’t until this 1991 full-length debut that the full extent of Powerule’s abilities hit wax and it  more than delivered on their promise. Representing their Puerto Rican heritage to the fullest, the majority of the tracks that you’ll find on Powerule’s very impressive debut (even when listening to it today) are uptempo bangers that are sure to induce neck pain.

Most of the album is produced or co-produced by Powerule themselves along with the album’s standout, “Gots Ta’ Get This” which was produced by and also features Large Professor.  Throughout “Volume 1″ Powerule injects a strong Puerto Rican influence into their music, in the form of salsa breaks and samples and shuffle beats and rhythms (which is very noticeable in songs such as “When the Rhythm Calls,” with its unbelievable scratched beat, and “Que Pasa?”). Mixed with the hallucinatory, stop-action, stoned New York vibe of East Coast hip-hop (sounding like an East Coast version of Cypress Hill at times), the album often takes on, to a greater degree than many from its era, the resonance of swaggering nightlife, sweltering summertime block parties, and the cramped, sweaty spaces in which the hip-hop lifestyle has always thrived.

From the opening cut, “Back,” to the end of the album, Volume One characterizes where hip-hop was born and where its beating heart has always remained: musty basements, rooftops, electric after-hours clubs, and hazy studios, with the ever-present thump of low-end pounding at the gut and the tension of the unknown hanging in the air. The trio moved from the mellowness of hanging out (“Back,” “Que Pasa?”) to kicking rhymes with friends (“Rub Off the Wax,” featuring Leaders of the New School, and “Young Stars From Nowhere”) to doing a show (“5 Minutes 2 Showtime”) to hitting the clubs (the aforementioned Large Professor asstisted brag-fest “Gots Ta Get This,). And on the molasses-thick, reggae-ish “Premises,” MCs Prince Power and E. Ville go beyond simply reflecting the culture, and reflect on it as well.

“YZ EP”-YZ (1991, Tuff City)

Another great Tuff City artist, YZ came up when the label was at it’s creative peak. He dropped the highly slept-on “Sons of the Father” back  in 1990 and followed that up with this nice six- track EP which featured a few tracksthat didn’t make the LP along with the instrumental to his biggest hit, “Thinking of a Master Plan”. The EP also features the creative production talents of Tony D who is primarily responsible for the majority of the classics you’ve heard from the Poor Righteous Teachers catalogue. This joint is filled with strong numbers like the uplifting “When the Road Is Covered With Snow”and the party cut “Mixel Plic Remix”. “Crocodile Dundee” is also a strong track that has YZ labeling himself, one can assume, as a Hip Hop underdog in a strange land of wack MCs.

“Taggin It Up” is YZ’s ode to the B-Boy art of graffiti. In my opinion this is one of the better, handful of Hip Hop cuts  that have covered the subject. “And this was in me to give you, a wall to look up to… so i’m taggin it up” shouts the MC as he puts up a “wall of words”. He encourages the community not look down on graffiti, but to look up to it’s positive essence and ability to enlighten it’s on-lookers. There’s some nice subtleties in here too, like the use of the spray can’s “shhhh” and rattle as a percussion element. Nice! This one used to be a cut out a while back but as with all Tuff City records of this era, they are getting tougher to find.

YZ’s “chanting” over most of the tracks has always made for an interesting combination on both this and “Sons Of The Father”, if you’re looking for an enthusiastic emcee who had one of the brighter up-sides in Hip Hop but never realized his full potential that give YZ a listen, you won’t be dissapointed.

“One For All”-Brand Nubian (1990, Elektra)

Comprised of Grand Puba Maxwell, Derek X (Sadat), Lord Jamar and DJ Alamo (who was also Sadat’s cousin, if I’m not mistaken), Brand Nubian emerged in 1990 as one of the finest groups to ever represent the Five Percent Nation of Islam.  Although, (arguably) front-man Grand Puba had scored a small dose of success as a member of Masters Of Ceremony, it wasn’t until the release of the foursome’s critically acclaimed debut “One For All” on Elektra records, that folks really started to pay full attention to (as Treach of Naughty would later say) “one of the fiercest emcees on the mic”.  The initial feedback from the album was mostly positive, even if songs like “Drop The Bomb” caused friction in some circles (mostly whites) due to what many called “reverse racism”.  Matter of fact, I can also remember reading in The Source that some white Elektra employees where soo offended by “One For All”, even going as far as stopping the promotion of this album completely.

Although the album is also considered a necessity to many East Coast headz, thanks much in part to the inclusion of classic cuts such as “Slow Down”, “Step To The Rear”  and the title cut, “One For All” was also one of the most heavily bootlegged albums to ever grace the streets of New York.  So obviously, the amount of units that “One For All” actually moved is quite obsolete.  Personally, “One For All” is one of my all-time favorites both lyrically and production-wise.  With the majority of the album’s production handled by the group and the Stimulated Dummies (SD50s), tracks like the “One For All” (which was also an “accident” of sorts, the unintentional “skip” from one of Puba’s Girfriend’s James Brown records served as the backdrop) and the Eddie Brickell-sampled “Slow Down” were truly innovative records…and still are.  Lyrically, Brand Nubian (Puba, Sadat and Lord J) came off as a more militant and complex De La or Jungle Brothers.  Brand Nubian didn’t quite beat you over the head with their 5% rhetoric like the X-Clan did, Puba would actually spit 5% knowledge in one verse and in the next 16 bars, rap about rocking Girbauds and Tommy Hill while smoking a blunt and drinking a 40 oz, which is one of the main reasons I feel that East Coasters loved his style so very much.  But of course, everyone knows that Brand Nubian also took a VERY serious blow when Puba and departed the crew (with DJ Alamo in tow, nonetheless) to release his solo outing “Reel To Reel” in 1992, leaving Lord Jamar and Sadat X to regroup with DJ Sincere for the release of 1993′s “In God We Trust”.

While I feel that a few tracks could have been excluded from “One For All”-namely, “Try To Do Me”, even for a 13 year-old kid like myself this album was extremely likable and mind-blowing at the time of it’s release.  Hell, I was just as saddened that Puba left Brand Nubian as a was at the moment I learned of EPMD’s “break-up”.  If you don’t own this album in your collection, you need to slap yourself silly for “One For All” is a must-have for anyone who says they love “Hip Hop”!

Legal”-Special Ed (1990, Profile)

When we talk of Special Ed, the one fact that many cats seem to overlook is that Ed was only 16(!) when he released what is now regarded as one of the finest records of all-time, “I Got It Made” under the tutelage of one of Hip Hop’s originators on the boards, “Hitman” Howie Tee.  In 1989 Special Ed scored a major smash with his debut “Youngest In Charge” which also included three heavy-hitting records, the aforementioned “I Got It Made”, the album’s opener “Taxing” and the crazy addictive, banjo-boasting “I’m The Magnificent”.  And at the time of the release of “Legal” in 1990, Special Ed was regarded as one of the true front-runners in Hip Hop emerging from the East.  

With albums loaded with punchlines and metaphors Ed delivered one entertaining verse after another, from the release of his debut until 1995′s largely-unnoticed “Revelations”.  And while not the most lyrically complex emcee to ever bless the microphone, Ed won with his undeniable charm and confident swag.  A much better album than his debut, in my humble opinion, Ed’s sophomore effort “Legal” was also fully produced by Howie Tee.  A short and sweet album (think “Illmatic”), Howie’s production on “Legal” served as the Yin to Ed’s Yang (Pause), allowing Ed’s increasing verbal skills to take center stage on this follow-up.  The album’s crowning moments came via the first single “The Mission” where Special Ed a clever storytelling ability that couldn’t be found on “Youngest In Charge”, which carried more of a battle rhyming, brag and boast aim than “Legal”.  Also, when cats speak on the “greatest posse cuts” of all-time, rarely is Ed’s “5 Men And A Mic” included in that conversation, this track also served as my introduction to Little Shawn who would drop a decent album (“The Voice In The Mirror”) nearly two years later.  The funny thing about Little Shawn is that he will probably be remembered more for something he didn’t do (Pac was on the way to record a track with Little Shawn in New York when he was shot on his way up to the studio, which played a huge role in the origin of the East-West beef), more than anything he ever did do.  

Although “Legal” did have it’s limitations-the obligatory “See It Ya” would have been better if left on the cutting room floor-Ed’s youthful exuberance and expression were more than enough to push this album over the top.

Funky Technician”-Lord Finesse & DJ Mike Smooth (1990, Wild Pitch)

Seriously, I could leave a very good impression for the reader of Lord Finesse & DJ Mike Smooth’s “Funky Technician” with three simple names: DJ Premier, Diamond D & Showbiz, and not to be overlooked Lord Finesse, and you will be sold on this album without giving it a thorough listen.  Yes, it’s a beatheadz dream come true!  ”Funky Technician” was the end result of an album that featured some of the best producers from the East, if not Hip Hop as a whole, throw in a hot DJ as an added bonus and you have an overlooked, underrated CLASSIC!  Released on the now-defunct, but legendary Wild Pitch records in 1990, “Funky Technician” found Lord Finesse showing and proving his steady rhyming abilities over some of the hottest backdrops in underground Hip Hop.

While Lord Finesse was no Rakim or Big Daddy Kane (pre-”Taste Of Chocolate”, of course), he was a master at stringing some of the most imaginative lines together for some hot sh*t.  Honestly, I’ve always found fellow D.I.T.C. member A.G. and Finesse’s styles to be oddly similar, and speaking of A.G., dude dropped one of his all-time best verses on the Showbiz-produced “Back To Back Rhyming”.  While Preemo’s production career may have turned out to be more fruitful than that of Diamond D, on this album it is Diamond and not Premier who churned out the finest gem with his beat for the title cut.

Although many folks seem to forget that Finesse was an emcee before he displayed the production wizardry that made tracks like Biggie’s “Suicidal Thoughts” so unforgettable, this album was chalked full of ill one liners and battle rhymes.  Even if, in retrospect, this album was a little too heavy for my taste (today) on James Brown samples, “Funky Technician” will forever be remembered as the one album that which legendary East Coast beat-makers formed like Voltron to deliver one of Hip Hop’s most “slept-on” CLASSICS.

“Step In The Arena”- Gang Starr (1990, Chrysalis)

Wow!!  That was word that came to mind when I first heard the jazz-infused production of the legendary DJ Premier and the monotone flow of the G.ifted U.nlimited R.hymes U.niversal via their video for “Just To Get A Rep” (and, is it just me or has that sample been popping up everywhere lately?)  Something else of note, while watching the video for “Just To Get A Rep” this morning on my Iphone (the YouTube function on the phone is a VERY nice feature) it was the first time that I noticed that the star of the video was actually Lil’ Dap from the lyrically-challenged Gang Starr spin-offs, the Group Home.  Not only that, but Dap’s partner-in-rhyme Melachi played the lead role as a shorty in GangStarr’s video for the album’s title cut, “Step In The Arena”.

“Step In The Arena” was, in my opinion Premier and Guru’s crowning moment.  Don’t get me wrong I love “Daily Operation” as much as the next man, but “Step..” served as the blueprint for Guru and Preem to perfect the style that would garner the duo legendary status in the underground.  Guru’s monotone, almost conversational delivery was quite unlike anything I’d ever heard at the time.  And even though Guru’s voice and self-assurance would blossom even more by the release of “Daily Operation”, it is with “Step..” that Guru delivered true insight and knowledge to urban America. Whether he was touching on the exploitation of the community with “Execution Of A Chump”, or reaching out to those who played that same role within that same exploitation (“Just To Get A Rep”), Guru developed a true hope for a way out of his bleak surroundings.

By the time of it’s (“Step In The Arena”) release, DJ Premier was already blossoming into one of the most savvy producer/DJs of his era.  Utilizing samples in ways that one could never imagine while at the same time gaining attention for his subtle use of Jazz, DJ Premier began to set the standard for his beats and “thinking outside the box” of standard Hip Hop production and techniques.  His production for “Step In The Arena” may have been less Jazz-infused than “Daily Operation” as Preem opted for sharper, more traditional break-beats and slick guitar samples.  However, not lost in the mix was Premier’s unmistakable knack for scratching vocals into the hooks of many of tracks that appeared on the album.

While “Step In The Arena” not only blew away critics and die hard Hip Hop heads alike, it wasn’t really until the release of “Don’t Take It Personal” from “Daily Operation” that Gang Starr would truly earn it’s first “mainstream” smash.  Instead, “Step In The Arena” has always remained as somewhat of a cult classic that never really crossed over to the masses, while that may not be favorable for Gang Starr, it is in the eyes of this listener who considers the duo to be one of his favorite groups of all-time.

“People’s Instinctive Travels And Paths Of Rhythym”-A Tribe Called Quest (1990, Jive)

I’ll tell you what, I really feel OLD when I sit and think that it was over 20 (!) years ago when I first heard A.T.C.Q. frontman, Q-Tip on De La’s “Buddy”.  And just as old when I take into consideration that it was also near that same timeframe when I first caught a glimpse of A Tribe Called Quest and their video for “I Left My Wallet In El Segundo”.  Who would have imaged that nearly two decades Q-Tip would release “The Renaissance”..craziness, I tell you!

Formed in 1988, and comprised of Q-Tip, Phife, Jarobi and DJ Ali Shaheed Muhammed, A.T.C.Q.’s recording debut came in 1989 with, “Description Of A Fool”, which appeared on a small independent label and was released to very little fanfare. It wasn’t until the release of the Lou Reed (“Walk On The Wild Side”) sampled “Can I Kick It” that folks truly began to take notice of this talented foursome from Queens.  Without question, Tribe was one of the most infamous card-carrying members of the “alternative” rap tag along with the majority of the Native Tongue camp, a true variance from the majority of Hip Hop that was brewing in the early to mid-nineties.  Confronting many issues that plagued the black community and the recording industry as a whole, Tribe was without question one of the most intelligent, artistic rap groups that we’ll ever see and hear in this lifetime. Boasting lyrics that were packed with ideas and at times, tongue in cheek comedy, the Tribe was one of the most original crews in Hip Hop.

From the start of “People’s Instinctive Travels And The Paths Of Rhythym”, Tribe chose to focus on tracks that were filled with positive messages, without sounding too preachy or overbearing.  With “Pubic Enemy” the crew put on comedic spin on the often-avoided topic of venereal diseases, while the classic “Bonita Applebum” moved right into the topic of “Love Rap”.  It was also on “Bonita Applebum” that Tribe displayed their production genius, while altering a sample with the type of jazzy keys that we would witness on later Tribe tracks.  “Youthful Expression” aimed at those with violent tendencies, while adding an important message over simmering productions.

The Tribe also displayed their playful side on the aforementioned “I Left My Wallet In El Segundo”, I mean…who else could kill over four minutes describing a road-trip “gone wrong” and still make it sound ill but the Tribe? Some of “People’s..” best productions came in the form of the album’s opener, “Push It Along” (a nearly 8 minute ditty) and “Rhythym (Dedicated To The Art Of Moving Butts), both of which sported crazy, atmospheric samples and deep bass grooves, allowing Tribe to offer their best rendition of 70′s synth funk.  Perhaps-at times, Tribe experimented a little too much for some on thier debut.  However, it’s hard to argue that this album isn’t a classic along with the crew’s efforts that would soon follow, “The Low End Theory” and “Midnight Marauders”

“Smooth Assassin”-Grand Daddy I.U. (1990, Cold Chillin’)

Ahh…Grand Daddy I.U.’s “Smooth Assassin”, one of the true sleepers of 1990.  Even back when this album first hit the streets nearly two decades ago, I still managed to pass it up.  I remember the day very clearly, I had $10.00 left in my pocket (saved up from yard mowing) and it was either “Smooth Assassin” or Too Short’s “Short Dog’s In The House”, and like any normal 12 year old kid would’ve have done, I opted for the album loaded with “dirty sex raps” and explicit lyrics.  With the inclusion on Biz Markie and Cool V on the production tip (along engineering assistance from former Boogie Down Productions affiliate, DJ Doc), one would think that this album would have done a tad bit better in the sales department just with the Diabolical One’s stamp of approval alone.  Since it had been nearly 5 (!) years since I’d last heard “Smoooth Assassin”, I decided to upload it to the Ipod this past weekend and let the sounds marinate over a game of “College Basketball ’09″ (God, why did 2kSports do away with the 2KHoops series this year?!).  Needless to say, I was quite curious to see how this album withstood the test of time, here’s how it went down:

I’ve always liked I.U.’s style, he rhymed with a very slow, drawn out flow and had a voice that sounded like a mixture of Barry White and Big Daddy Kane.  The aforementioned Biz Markie supplied Grand Daddy with beats that were tailor made for the Jeeps.  Much of the production, was layered with Biz’ signature-sloooow, bassy, sample-heavy and very addictive style.  After listening to the first few cuts on “Smooth Assassin”, I was pleasantly surprised to say the least.  It soon became very easy to see why I liked this album so damn much in the first place.  I.U sprinkled many of the tracks with his clever wit and humor-plus, the production on the album-while today, sounds very outdated-was very solid when you consider the timeframe of it’s release.

Some of my favorite cuts from “Smooth Assassin” were “Something New”, which jacked the beat from Nice & Smooth’s “Sum Pimped Out Sh*t” and “Behind Bars”, which utilized the Pointer Sisters’ sample from “We Can”.  If you want a good album to listen to while digging a little deeper into the Cold Chillin’ catalog, then Grand Daddy I.U.’s “Smooth Assassin” would be a helluva’ starting point!!

“The Art Of Storytelling”-Slick Rick (1999, Def Jam)

Ricky Walters, Slick Rick, formerly known as MC Ricky D of the Get Fresh Crew, has consistently moved crowds with his clever narratives i.e, “The Show”, the immensely “jocked” La Di Da Di”, “Mona Lisa” and “Children’s Story”. Unfortunately, the party almost came to an abrupt halt in 1990 when “the Rickster” did a six-year bid up-state for shootin’ a fair one at his cousin. As a result of Slick Rick’s hiatus came two lackluster albums, “The Ruler’s Back” and “Behind Bars” were released almost as somewhat of an afterthought. However, in 1999 a less restricted Rick released his fourth joint, “The Art Of Of Storytelling”, coming back with a full-blown dedication to constructing a pretty darn good LP to make up for the “half-hearted” efforts of the “Ruler’s Back” & “Behind Bars”. While Slick has never taken too many heads outside of the party, chicken head tales and platinum-drenched fantasies, he holds his firm ground in Hip Hop as one of the best, most lyrical and charismatic emcees to ever touch the M-I-C. Rather than rehashing the painful experiences that led up to the release of “Art Of….”, Slick chose to stick to the script that made him a household name during Hip Hop’s “Golden Era” …plus, in the 9-9 there still wasn’t too many emcees in the game that breathed life into a comical tale like Rick could.

The album opened like a gangster flick with Slick strolling down the prison hallways on his way to being a “free man”. The score of eerie violins trace Slick’s footsteps as Run, Redman, Nas and Ed Lover revisit some of Rick’s lyrical gems from some of his most well-revered hits. The album’s biggest smash “Street Talkin”, which also featured OutKast, and the Nas featured “Me & Nas Bring It The Hardest” find Rick showcasing his signature rhyme style he helped pioneer, a la “85 style” bitches!! “Adults Only” will have you flashing back to many of the moments on Rick’s classic “The Great Adventures Of Slick Rick” as he offers Triple-X accounts of….ahem…”culo” sex. But the true-blue highlight of “The Art Of Storytelling” arrives with some help from Raekwon on “Frozen”, where the unique tag-team serves a healthy dish of battle rhymes over some sick “synths”.

With “The Art Of….” , Slick Rick proved that he was still as zany and animated as the original persona he created on his solo debut. Even to this day, Slick’s presence is still in high demand, proving that his die-hard fans would much rather seek refuge in his rhymes than have there ears blasted with “violent reality” delivered from far less talented emcees. Rick has always succeeded in providing a nice break from all the “BS” in Hip Hop….”We Like To Party/We don’t bother nobody…” the truest words this legend ever spoke and always part of the true B-Boy’s mantra.

“Melvin Flynt: Da Hustler”-Noreaga (1999, Penalty)

After “holdin’ down” much of the CNN classic “The War Report” and delivering a decent solo debut, “N.O.R.E.”, due to parter-in-rhyme Capone’s jail time, Nore set out to enjoy the fruits of his labor with his sophomore LP, “Melvin Flynt: Da Hustler”. However, contrary to wishful thinking, Nore’s third installment in as many years was most definitely not the CNN reunion that the world had been waiting for. Even though Capone may have been listed as the album’s (Melvin Flynt) “co-producer”, he strangely didn’t appear on a single song, which unfortunately left Nore’s new persona, “Melvin Flynt” to attempt to shine on his own once again. Even with the semi-notable success of the album’s first single, the Neptunes producer “SuperThug wannabe” “Oh No”, many fans were quick to dub this release as a “sophomore slump” from one of Lefrak’s finest.

In what was intended to be Nore’s musical conversion from “thug” to “hustler”, the album looked, felt and even smelled like the same ol’ product that was “on the run eatin” only one year earlier. Although Nore may have stayed true to his unique delivery of unrelated words in typical Nore-form, he seemed to give up some of his lyrical…prowess, if you will…for the sake of a more stylish delivery of verses that didn’t hold the same impact of those on his previous solo effort and on “The War Report”. In the end, “Melvin Flynt” barely served as a snack to hold over fans until the release of CNN’s highly anticipated follow up to “The War Report”, appropriately titled “The Reunion”.

“Tell ‘Em Why U Madd”-Madd Rapper (1999, Columbia)

Knowing the appropriate time to reinvent oneself is very critical to the longevity of an artist’s career. In the late ’80′s, when conscious rap was “in”, an emcee by the name of D.O.P. emerged as one half of the duo 2 Kings in A Cyper. Then when the transition came from “fist pumpin” to “booty-shakin”, D.O.P. then transformed himself into producer extraordinare Deric “D-Dot” Angelettie and soon became one of Puffy’s infamous Hitmen. Over the years prior to the release of “Tell ‘Em Why U Madd”, D-Dot found himself laying the tracks to some of Bad Boy’s most memorable jams such as Biggie’s “Hypnotize”, Diddy & Mase’s “Been Around The World”, The Lox’ “Money, Power, Respect” and the classic posse cut “It’s All About The Benjamins”. Sometime during that time line D-Dot chose to pick up the mic again, this time as the disgruntled, hilarious character called the Madd Rapper. Not since Shock G of Digital Underground introduced the world to Humpty had such a free-spirited alter ego been nearly as successful posing as a dual persona.

Thankfully, on “Tell ‘Em…” D-Dot’s production connections paid dividends. For instance, on “Bongo Break” an aggressive Busta Rhymes flipped over a thick bass-line sample that many heads will recall from the J-Live classic, “Braggin’ Writes”. Raekwon stomped through on “Ghetto”, while the Beatnuts added a much needed dose of flavor to “Esta Loca” and young and hungry Eminem injected his array of one-liners into the twisted “Stir Crazy”. Interestingly enough, despite all the inclusive star power, D-Dot himself also delivered an impressive appearance with lines like: “All of a sudden now she’s on my di*k/Was in the Sound Factory when she heard my sh*t/I met her a few times before, I knew her girl Lenore/She told her no, I couldn’t score, too rugged and raw…from the smoothed out cut “Not The One”.

Ultimately, the Madd Rappers’ trademark rants did tend to become annoying. Plus, there are moments on the album where D-Dot’s lyrics…while tolerable…would have been much better had they not been delivered by “The Madd Rapper” per se. Better yet, who knows? Perhaps the Madd Rapper persona was created to serve as the scapegoat for a questionable debut album.

“As The World Burns”-The Arsonists (1999, Metador Records)

Welcome to underground Hip Hop folks, the only place where all four preserved elements-DJing, emceein’, graf and B-Boyin’ remain. The underground also….even to this day, stays far from the public eye, instead being passed over by consumers searchingfor more “commercial” fads and music. With that in mind, you can’t gauge the heat (pun intended) that the five man crew of the Arsonists brought forth on their debut, “As The World Burns”, even though most of the “burning” would go largely unnoticed. This fiveman collective captured the true essence of the “underground” with freestyle flows and stories that boasted witty metaphors and similes, dope beats and energy reminiscent of the early Leaders Of The New School days.

Perhaps the most attractive aspect to “As The World Burns” was the group’s energy, the same energy that Hip Hop seemed to lack after 1995. Check the hard drum track of “Shaboing” as Q-Unique spit verbal gems such as: “Like a sunset scenery/I’m like the bottom of the eye chart/’Cause rappers ain’t seein’ me… Also, the hilarious and clever “Lunchroom Take-Out” and “Freinemies” highlighted the groups potent strengths-free-styling and dope wordplay. Paying tribute to Hip Hop’s underground, “Underground Vandal” the Arsonists defined their mission throughout much of “As The World Burns” with this one single track. The only real downside to the album is that many of the tracks shared the same mood. The lack of tempo change tends to become the group’s Achilles’ heal, as the album is essentially one big cypher of emcees with exceptional skills. However, what mattered most with this release was the feedback of “the underground” and as the years have passed since 1999, “As The World Burns” remains as a definite “must-cop” if you consider yourself a consumer of the underground market. Like Primo said: (underground Hip Hop is) “always livin’ never dyin”…

“Rap Life”-Tash (1999, Loud)

Poised to make his own mark without the assistance of E-Swift and J-Ro and set it off on his own during Hip Hop’s “Platinum Era”, Tash emerged in ’99 with his solo debut, “Rap Life”. In no way did this solo effort mark the break-up of Tash and his fellow ‘Liks, but Tash did maintain the level of dopeness that became standard on most of the ‘Liks full-lengths. Over the years, Tha Liks have remained as the one group that managed to rise above the stagnation that gripped most of the Westside, as they strayed far away from the curse better know as “G Funk” overdose. And despite minor flaws such as limited subject matter and a few useless skits this solo effort from Tash represented another beacon of hope for the West to shake free of the “G Funk” label.

On “Pimpin’ Ain’t Easy”, Tash boasted of his lyrical expertise over KC & The Sunshine Band’s “I Get Lifted”, add a crafty hook comprised of Waterbed Kev’s rallying cry, “PuertoRico! Ho!” and you had a certified hit. “G’s Is G’s” and the album’s title cut, featuring Kurupt and Raekwon respectively, came off as radio friendly bangers that pretty much summed up the subject matter of the whole album: the life of a rap star, complete with ho’s, money and naysayers. Production on “Rap Life” showcased flavors from all coasts that mixed together like rum & Coke without sounding too contrived. But hands down, the gem of the album was “Falling On” where Tash spit with the charismatic delivery of an early Big Daddy Kane.

“Fantastic Vol. II”-Slum Village (yes, I know…2000, Good Vibe)

Note from Eric: Yes, I realize this album “officially” dropped in 2000, but hey, this is the last installment of “I Love The 90′s” and “Fantastic” (at least a good portion of it) was fairly familiar to the listening public in the late-90′s.

“A Tribe Called Quest” game three outstanding albums (their first three that is)! I liked their “Beats, Rhymes and Life” but as a follow-up to “Midnight Marauders”, well, I guess you could only lose. It was a good album and it felt very much like my “Tribe”, it just didn’t knock me out my socks. More significantly, they introduced us to their new production team “The Ummah”, consisting of Q-Tip, Ali and a kid they had met backstage at a show in Detroit (The question at hand, why would those guys need some help anyway???). “The Love Movement” on the other hand will forever be their least appreciated piece of work. For once, they had already announced their break-up, stating that this would be their last album (Great PR- yeah right), plus the sound and feel of the album was just too different. If you’re a crate-digger and you’ve came across some the tunes ATCQ have sampled for their first three albums, you will notice very straight-forward techniques (less chopped up pieces, more or less multi-layered loops), typical light drum-sounds with abounding detail on their arrangements. Now, I challenge anybody to name me three samples of the “Love Movement”! You’ll get the idea? I very much hope so… Jay Dee, and if you listen to the “Love Movement” right now (matter of fact do it RIGHT NOW), was way ahead of his time and his testament is not the music that he has left behind, it’s inarguably the respect, the admiration and marveling his peers and colleagues showcase when they still talk about him!

Never compromising his integrity as an artist, Dilla influenced the modern sound (not only Hip Hop) in many ways beyond comprehension: He single-handedly made it cool to replace the snare with a clap; he chopped up samples soooohard, I bet the original artist wouldn’t recognize their own work. Overall, a genius who’s left us way too early. Slum Village? Anything after “Fantastic Vol.2″ flew under my radar. I didn’t like the MCs back then and the only reason “Fantastic Vol.2″ was and still is a winner are the beats and the guest-features. If Busta Rhymes provides the best verse on your album, you sure have a huge problem Homie! Great production, good guests, disillusioned MCs… R.I.P. Jay Dilla…-Rasul

Eric adds:  Shouldering the high standard imposed by the Tribe comparisons, T-3, Jay Dee and Baatin provided the right combination of humor, arrogance and microphone abilities. They tactfully bounced in and out of “Fantastic” without ever being overpowered or upstaged by the bass-heavy production. And even though the trio relied primarily on sampling, the tracks had the kind of dense instrumentation that could actually be mistaken for a live band. With such an endorsement and beats by the late Dilla, Slum Village’s “Fantastic..” had to be good-and it was.

On my favorite track, “Conant Gardens” a homage is paid to S Villa’s home turf, the D. This track was just a beginning to introduce us to how Detroit MC’s could get down. And “Fall In Love” employed an amazing track and chanted hook where the trio pondered their love/hate relationship with the jaded state of Hip Hop. Slum Village wasn’t afraid to employ the talents of already established and charismatic emcees either. “The Hustle” featured the zany Busta Rhymes and Pete Rock graced “Once Upon A Time” with his legendary presence. And while there were a few “clubby” tracks, overall “Fantasic Vol. II” was loaded with mellow tracks and quality material. However, periodically, the album slid into a few moments of monotony, Slum Village’s follow to the first installment “Vol I” was damn near a classic album!

“I Am”-Nas (1999, Columbia)

No bones about it: by the time that Nas’ “I Am” dropped in 1999 the “Nasty” in the Nas was dead. Despite desperate cries from devout fans who longed for Nas’ return to the days of his “Illmatic” debut, all we had to feed off of prior to this release was the disaster better known as the “Firm Fiasco”. Fortunately, with the release of “I Am”, Nas’ “Esco” persona seemed dead as well, ultimately destroyed by the illmatic ghost of “Nasty” Nas that emerged to also replace Nas Escobar with the release of “I Am”. Confused? Well, after one listen to the first single release from this album, “Nas Is Like”, the Primo-laced classic, traces of the Nas that appeared on the Main Source classic “Live At The BBQ” could be found. Not since Large Pro and Naslinkedup for “It Ain’t Hard To Tell” did we hear such an amazing chemistry on one single Nas track. Nas’ project-induced poetics, coupled with Preem’s hauntingstrings, still give me goosebumps to this day. And in case you forgot (since it was nearly 5 years after the release of “Illmatic”) just how “Nasty” Nas could get, Primo’s stratched hook used some of Nas now classic phrases such as: “Nas Is Like…life or death/My poetry’s deep, I never fell…/Half man, Half Amazin’. Indeed, a sweet trip down “Memory Lane”, pun intended by the way.

With offerings like “Money Is My Bitch”, a near genioustrackin terms of metaphors, and “Favor For A Favor”, which featured the always captivating Scarface. For further proof that Nas hadn’t fallen off with the release of the Firm album, the one man who came to embody Hip Hop’s adoration of all things material (Puffy) emerged to declare Nas’ continued existence on the venomous, “Hate Me Now”. While Nas’ duet with DMXon”Life Is What You Make It” wasn’t really anything to write home about, his experimentaion with the ever-so-popular Mid-West flow on “Big Thangs” and his cinematic depiction of domestic violence, “Underlying Love” found Nasathis most creative on “I Am”. Also, don’t sleep on Nas’ call to arms on “Ghetto Prisoners Rise”, his indictment of the government on “C.I.A.” or Nas’ ’99 version of “One Love” the instrospecitve letter to Big and Pac, “We Will Survive”. Plus, I hate to say it but I think Primo may have even one-upped himself with his re-working of the classic “N.Y. State Of Mind” on “Pt. II”, and lyrically Nasdidn’tfall off one bit on the second ‘go round. Needless to say, if anything was accomplished by Nasonthis record, he solidified his “Nasty” status. However, there’s no mistaking, that the “Nasty” was questioned (once again) with the all-too-soon release of the sub-par “Nastradamus”, or as I like to call it the “I Am left-overs” that weren’t good enough to make the cut.

“A Musical Massacre”-The Beatnuts (1999, Relativity)

Ever since the release of their debut EP, “Intoxicated Demons”, Psycho Les and JuJu have bestowed our minds, bodies and souls with classic Hip Hop. With straight up, no frils, trunk popping beats and unmatched microphone brashness, the Beatnuts will always remain as one of my favorite groups ever, and even though they added a few aliases to their brew on “A Musical Massacre” the ‘Nuts still remained as cool as the other side of the pillow. The Beatnuts will always be known as those cats that were cool enough to be crazy and crazy enough to be cool.

From the jump, the sick strings on “Beatnuts Forever” found Juju “(killing) everybody at work and taking the day off” and on the Cheryl “Pepsi” Riley assisted “I Love It”, the ‘Nuts claimed to be those dudes that “lent O.J. the glove”. Bad influences were unleashed on Common, taking him out of his shell for an odd pairing that worked on “Slam Pit”. Hell, even Psycho Les’ daughter warned for you to “watch your step” atop the ill piano loop found on “You’re A Clown”. Even though the Beatnuts conducted their standard protocol: fuc*ing, drinking and smokin’ some sh*t, “Look Around” (which featured dead prez) found them acting responsible and reflective. However, don’t get it twisted, such sentiments are few and far between on “Massacre..”. Plus, who could ever forget the catchy as hell follow up to “Off The Books”, “Watch Out Now”. Simply put, the ‘Nuts had it right when they titled their “greatest hits” album of sorts “Classic Nuts”, no doubt that’s what these cats put out….CLASSICS indeed!

“Rasassination”-Ras Kass (1998, Patchwerk/Priority)

Back in ’95, Ras Kass was pinned as the apparent “savior” of West Coast lyricism, a vernacular powerhouse emerging from the fog of G-Funk. Still, his debut, “Soul On Ice” didn’t quite live up to all the hype that it garnered. This lyrically rich, conceptually-heavy album was betrayed by so-called “less-than-stellar” production and Ras’ flame was on the edge of burning out.  Thankfully, this Golden State Warrior didn’t let this do him in and went right back to the lab. On Ras’ second effort, “Rasassination” the self proclaimed water-proof emcee kept the lyrics flowing with a bigger emphasis on the beats.

On Ras’ sophomore LP, he reached out to some friends in a valiant attempt to surpass the sales of his debut.  “Ghetto Fabulous” found Ras teaming up with California mainstays Dr. Dre & Mack 10.  “Ice Age” featured the verbal jabs of fellow “somewhat lyrical” emcees Kurupt and El Drex, and the electro-funkish’ “All Or Nuthin” united Ras with the lightning quick delivery of Chi-Town’s very own, Twista.  Hell, even the RZA joined the party on the album’s closer, “The End”, rhyming over an ill (as expected) Easy Mo Bee track. 

However, “Rasassination” had it’s inconsistencies as well.  Songs like “Interview With A Vampire”, an eerie, God vs. the Devil type track falter.  While, Ras’ R & Bish’ forays were even more troublesome.  The swirling “Lap Dance” should have been left on the chopping block and “It Is What It Is” just wasn’t up to par with Ras’ heavy lyrics.  Reliant on lyrical gymnastics, Ras’ multi-layered rhyme schemes were so intricate that many tracks will take more than a few listens to decipher (a la Ghostface).  However, as with most so called “deep” lyricists, finding the proper production to complement their verbal skills apparently isn’t as easy as it may appear.  Sadly enough, in the end, the pitfalls of  ”Rasassination” ended up mirroring those of his debut, “Soul On Ice”.  Still, the lyrics and flow were out of this world and few could hold a torch to Ras in that aspect.

“Pieces Of A Man”-AZ (1998, Noo Trybe)

“Visualizing the realism of life and actuality / Fuck who’s the baddest a person’s status depends on salary / And my mentality is, money orientated / I’m destined to live the dream for all my peeps who never made it”: Mesmerizing sentences that should have sparked up a matchless vocation! Well sadly enough, they didn’t. Coming off a feature-guest-part on one the best Hip Hop albums of all time, AZ released his first album “Do Or Die” in 1995, to capture the true essence of New York to the fullest degree. I say true essence because Biggie was declared as the king of the mountain based on his commercial success and Puffy’s unparalleled ethics but AZ, yeah, AZ represented the five deadly borrows (especially Brooklyn) more accordingly.

Back then, everybody on the streets or in ciphers mimicked him, everybody tried to emulate his multi layered, multi-syllable rhyme patterns and divulge on his mastery of wordplay. The Notorious was labeled “good” but AZ was labeled “great”, although obviously less successful. I recently read how AZ is considered of one of the few artists, who had rarely compromised his integrity. Bullshit! I consider 1998 as the mark of the beast: A lot of stuff went wrong that year (Matter of fact, this is a good subject for another post and I will explain myself more in-depth- why don’t you guys help Eric and me out and name all the albums that came out that year?) and AZ, along with Nas, Nature and Foxy, sold his soul to Jimmy and Dre and recorded the Firm album.

Couple of months later “Pieces Of A Man” came out, trying to capitalize off the Firm notion; a body of work that covered all the facets in demand, ranging from the ever so popular “let’s sample a 80’s soul classic” joint (”How Ya Lovin’”, “What’s The Deal Half-A-Mil” and “Just Because” that is probably one of the best efforts ever among that genre), the “I rather be a Cuban” joint (”Sosa”), the obligatory Wu-Banger (”Whatever Happened” with RZA) to the always irritating R&B extravaganzas (”Betcha Don’t Know”). Nevertheless, his rhymes and choice of contents carried the whole album and made it very fun to listen to. But AZ indeed compromised a lot, choosing the beats he chose, and unfortunately never bounced back…-Rasul

“Whitey Ford Sings The Blues”-Everlast (1998, Tommy Boy)

He useta’ roll with Ice T. He made the whole word “jump” back in ’92 with House Of Pain, and made them jump even higher when the Pete Rock remix of “Jump Around” hit airwaves. In ’98, shortly after overcoming a massive heart attack, one of the dopest whiteboys to pic up the mic returned….on “some other sh*t”. Recorded under his new alias, “Whitey Ford Sings The Blues” was a collection of Hip Hop meets Rock that truly only appealed to open-minded fans.

Much like Wyclef, armed with his guitar Everlast strummed along on the panoramic, “Ends” and spoke on society’s ills with the mega-large hit “What It’s Like” (don’t front, you know that sh*t was dope!). But, it was tracks like the Sadat X featured “Money (Dollar Bill)” and “Praise The Lord” (produced by Tha Liks’ E-Swift), more traditional Hip Hop tales, where Everlast sounded at home the most.  While the musical focus of this album shifted from the Heavy Metal-ish “Hot To Death” (produced by Divine Styler) to the old-school, Casual and Sadat X featured, “Funky Beat”, one thing was very evident:  Everlast thought Hip Hop sucked in the 9-8.  And with production from the likes of the SD50′s (who handled the majority of the album’s production) and Prince Paul, along with lyrical features from the well-revered, aforementioned emcees, Everlast just choose an “alternative” (pun intended) route to unleash his angst, as he did on much of his work with House of Pain.

“40 Dayz & 40 Nightz”-Xzibit (1998, Loud)

As the dysfunctional member of the Likwit crew, X to the Z made quite a bit of noise with his 1996 debut, “At The Speed Of Life”, an album that many consider to be Xzibit’s best effort to date. Devoid of all the hype and expectations, Xzibit’s debut was commercially ignored, but X showed some promise on tracks like “Paparazzi” and “The Foundation”. Looking to capitalize off of his first underground release, Xzibit’s sophomore album, contained a scrupulous collection of songs. From one bar to the next, X delivered potent lyrics with relative ease. His voice reverberates with his signature husky gruff that was neither distracting or annoying, similar to Nine’s.

Since it’s X’s delivery that took center stage, the stripped-down tunes were the album’s true gems as the sparseness served to highlight his voice. The plucking bassline that underlied “Los Angeles Times”, which also appeared on the “Soul In The Hole” soundtrack, made the song flow smoothly, while the booming drums of “Chamber Music”, the LP’s opener, accomplished the same effect. While Xzibit proved he can definitely hold his own on the mic, he did benefit when going toe to toe with other rhyme spitters. Not surprisingly, both of his clicks caught wreck. Xzibit cracked brews with tha Liks and King Tee on “Let It Rain”, and “3 Card Molly” showcased his chemistry with fellow Golden State Warriors Ras Kass and Saafir. Even Method Man and Jayo Felony came along for the ride on the vulgar “Pussy Pop”.

Even though it may have lacked a strong concept, “40 Dayz & 40 Nightz” still delivered on many fronts. While some minor tweaking was evident on sluggish cuts like “Shroomz” and “Nobody Sound Like Me”, Xzibit only further cemented his place as one of the best to emerge from the West Coast with this solid sophomore follow-up.

“Soundtrack To The Streets”-Kid Capri (1998, Columbia/Trackmasterz)

If you don’t know about DJ Kiiiiiid Capri!!, go back and check your History lessons. This former mix-tape DJ/Turntable technician has already secured his place in the annals of Hip Hop history. Sh*t, he was even voted as the “Greatest DJ Of All Time” in the Source’s 100th Anniversary issue. However, in ’98 the half Black, half Italian sound provider had a few new tricks up his sleeve. For “Soundtrack Of The Streets”, Capri was back to making beats, and along with some of Hip Hop’s elite giving Funk Flex a run for his money as well.

Not surprisingly, good tunes weren’t too hard to find. Jay-Z did a decent job with “Like That”, the Lox and Foxy Brown combined for the sinister “My Nig*az”, but it was the slammin’ “Unify” that brought Snoop and Slick Rick together. Opting for national acclaim, Capri showed love throughout areas outside of the Rotten Apple with songs like the Kurupt, Eightball and Too Short led “Creepin”, the Ras Kass ignited “One and One”, and the signature Luke booty-romp, “When We Party”. Minus a few minor fast-forward moments like the lacluster Nas performance displayed on the title track, Capri returned to the scene and crafted an impressive compilation from a wide array of established artists.

“Magnum Force”-Heltah Skeltah (1998, Duck Down/Priority)

I’m sure many of you may remember Heltah Skeltah from their crazy ill debut “Nocturnal”, and even some of you younger cats may have already placed Sean Price atop your “favorite emcees of today” lists. So, you already know that the duo of Ruck and Rock packed more than enough skills to carry an album. Their back-and-forth rhyme tactics coupled with creative wordplay have been the brunt of the Boot Camp attack since Day One. Thankfully, the lyrical prowess and aggressiveness didn’t change much between “Magnum Force” and “Nocturnal”. The beats? Now, that’s another story….

Gone were the static and grit of The Beatminerz production team.  Instead, producers like Grand Daddy IU, Self and NOD attempted to intertwine the roughness of Heltah Skeltah’s vocal texture over smoother, more polished sounds.  You were more likely to hear the occasional strumming of an acoustic guitar, like in the title track, or even the cascading sounds of a harp, as on “Chicka Woo”.  And while some thought that the duo’s sophomore endeavor appeared to be a blatant attempt at radio accessibility and commercial recognition, the less gritty music couldn’t be labeled truly as “commercial”, just for the the simple fact that it was….well…Heltah Skeltah!

The other major drawback with “Magnum Force” was the overabundance of odd outside appearances.  The two non-crew related guest spots for Method Man on “Gunz N’ Onez” and Tha Dogg Pound featured “Brownsville To Long Beach” fell waaaaay short of expectations because simply put, the guest stars didn’t shine as brightly as one would expect.  Only proving the point that Ruck and Rock are still some of the most underrated emcees in Hip-Hop today.  Fortunately, for die-hard fans who missed that ol’ Duck Down flavor, “I Ain’t Havin’ That” and “Perfect Jab” provided the perfect trip down memory lane.  However, in the long run, lackluster performances from affiliates seriously hindered not only the aforementioned cuts, but “Magnum Force” itself.  Ruck and Rock may have thought it was cool to invite family, but most of us just wanted to hear them shine on their own as they did with “Nocturnal”.

“Foundation”-Brand Nubian (1998, Arista)

You can’t think “Hip Hop” and not think of Brand Nubian. Whether or not my affinity of the four man crew of Grand Puba, Lord Jamar, Sadat X & Alamo stems from recollections of their 5% tinged gem “One For All” and adrenaline rushes from classics such as ”Punks Jump Up…”, Brand Nubian’s long-running formula of urban grit combined with God/Earth dogma holds a permanent place in rap consciousness. After a few shaky solo outings (“Reel To Reel”, “2000″ and “Wild Cowboys”) the crew reunited for 1998′s eagerly awaited “Foundation”.

Crafting “Foundation” had to be quite difficult. After all, it’s practically standard format that 95% of all Hip-Hop’s comeback attempts crash & burn, to say the very least. On a positive note, the album did make smart concessions to keep up with the changing sound of the new milenium, doing themselves a solid by enlisting the production talents of DJ Premier for the first single from the album, appropriately titled “The Return”. This track is highlighted by the precise cuts and clever usage of textures that defined the majority of Gang Starr’s albums. Other smart production choices included employing D.I.T.C. mainstay Buckwildfortwo cuts: the aggressive, bass-heavy, return to “One For All”, “Brand Nubian”, and the moving, Common Sense assisted, “Maybe One Day”. Even Lord Finesse dropped by with his two contributions, “Love vs. Hate”, which featured an array of moody textures and boom bap drum kicks, and “U For Me” a swayer in itself.

However, “Foundation” also contained a few “head-scratchers”. Most of which were outrageus attempts at dance anthems, “Let’s Dance”, “Too Late” are both joints that are classic “W.T.F?” moments. Also, the rehashed late 80′s samples that fueled “Probable Cause” and “I’m Black and I’m Proud” are lackluster as well. However, even at times when Brand Nubian is void of the sonic divide, they usually came through with consistent, hi-potent narratives. Puba, Jamar and Dottie X maintained their abilities to spit pro-Blackness and drop gems of 5% science without coming across overly preachy or dated. Hell, they even managed to upend the anti-woman cloud that hovered over them (remember “Slow Down”?) with the graceful “Sincerely”.

“Foundation” wasn’t a return to the 5-mic glory days of “One For All”, but it was a solid effort from a legendary crew nonetheless. Avoiding the materialistic gun-play madness of much of ’98 Hip Hop, Brand Nubian reunited to deliver a heartfelt piece of work, and that’s all you can ask for, right?

“Soul Survivor”-Pete Rock (1998, Loud)

Is Pete Rock the best producer of all time? Damn, that is one call that is way too close for comfort, I’m sure DJ Premier, Dr. Dre & the RZA may have something to say about it. Whatever the case, one thing is for sure…Pete Rock is legendary and there will never be another producer quite like the “chocolate boy wonder” from Mt.Vernon. While I haven’t been too impressed with some of Pete’s more recent work, earlier gems such as “T.R.O.Y”, P.E.’s “Shut Em’ Down” (remix) and Run D.M.C.’s “Down With The King” have truly caused aspiring producers to rethink their production gameplaninthis Rap shit. With the #1 Soul Brother’s collaborative effort “Soul Survivor, Pete reached out to some of the hottest emcees to ever pick up the mic on this 1998 release on the now defunct (but never forgotten) Loud Records.

Just taking a gander at the all-star lineup (Large Pro, Kool G Rap, Ghostface, Rae’, Tragedy, O.C., Sticky Fingaz, Big Pun, MC Eiht, Black Thought, etc.) for “Soul Survivor”, it’s nearly enough to give die hard Pete Rock fans an orgasm. “Soul Survivor” burst out the gates with the first single and video “Tru Master”, (which features the odd pairing of Inspectah Deck, Kurupt & Pete himself) and never lets up until it’s closing with the Heavy D & BeenieManfeatured “Massive”. While there where a few “miscues” on “Soul Survivor” (namely the “R & B” cuts “Take Your Time” and the album’s title track), it’s hard not to love many of the emcee combinations on this album that blend like lyrical gumbo over Pete’s buttery production. One thing is for sure, no matter who spits on a Pete Rock track there will never be another emcee that meshes perfectly over “Petestrumentals” quite like partner in rhyme CL Smooth. The somewhat of a “reunion” track “Da Two” served as just a teaser for fans of the duo, who could only catch a glimpse of what might have been in store with this “Blind Alley” sampled track.  I’m gonna’ go out on a limb here and say that ”Da Two” very well may be my favorite Pete & CL track, right behind “T.R.O.Y.”  Oh, and I can’t forget to mention yet another pairing of legendary emcees on the re-working of Kool G. Rap & Polo’s “Truly Yours”. Large Pro & Kool G Rap nearly top the original with the appropriately titled “Truly Yours 98″, displaying noticeable chemistry that may have evolved from the duo’s prior work on G. Rap & Polo’s classic”Wanted: Dead Or Alive”.

So the final question is…..if you had to pick one (and only one) “reunion” album, from who would it be? EPMD? Gang Starr? 3rd Bass? Main Source? Nah, I’m riding with Pete Rock & CL Smooth…..”When They Reminisce Over Your, My Gawd!”

“Metropolis Gold”-All City (1998, MCA)

Released in 1998 on MCA Records All City’s “Metropolis Gold” has always been somewhat of an enigma to me. I mean, taking a look at some of the producers featured on this album (Primo, Pete Rock, EZ Elpee, Ron “Amen Ra” Lawrence, Rockwilder, Clark Kent, etc.) one can nearly salivate at the thought of what a gem “Metropolis Gold” could have been. One theory that I have is that this album was dropped entirely too late and included waaaay to many failed attempts at radio play. Wasn’t the gritty, but all-too-short “Who Dat” leaked to the streets in something like 1995 (damn, that beat knocked…way too short though). Hell, I can remember it being featured on DJ Cash Money’s “Guess Who’s Coming To Diner” mixtape that same year. If you read my “Top 25 Beats” list you already know how passionate I am about Primo’s production featured on “The Actual” and the Pete Rock produced “Priceless” is the dope that we’ve come to expect from one of the greatest producers of our era.  Even Pete’s choice of the Biggie sample “I want the fuckin‘ fortune like the wheel” elevates the track that much more. Hell, even the FredroStarr produced (shit, are we ever gonna’ forgive dude for “starring” on Moesha?) “Xtreme” bangs, as the funky horn loop and steady bump of the track will no doubt have your head noddin‘.

It’s not that emcees Greg Valentine & J Mega aren’t entertaining….it’s just that lyrically they’re really not sayin‘ much. You can even hear a little Mase influence on the piss poor attempt at urban radio play, the Clark Kent produced “Hot Joint” and speaking of “piss poor”,  go head’ and throw “Live It Up” in that category as well. Hmmm, let’s see….what else? Oh, the V. Black produced “Afta Hourz” is a nice little track that combines elements of both Primo & Pete Rock to formulate an impressive piece of work that is delivered from a “no name” producer.

This album is the yin & the yang of being released on the cusp of a commercialized new era, there are joints that are hard enough and deliver enough mid 90’s boom bap too keep you eager to listen. Although, there are enough “jiggy” attempts to keep you pissed off and throw this album underneath your passenger seat only to never be given another play.  Nevertheless, All City’s first at bat, though not a home-run, isn’t a strikeout either.  With their take it-or leave it strategy, each song had the capacity to satisfy a wide margin of the crossover public, while still preserving the “keep-it-real” essence.

“First Family 4 Life”-M.O.P. (1998, Relativity)

For one thing, M.O.P. and my temper just don’t mix! Let me expound, back in the warm fall of 1998 “First Family 4 Life” was in pretty frequent rotation in my bachelor pad that I shared along with my cousin (who was a High School history teacher) and one of my summer league Basketball croonies (whom I don’t think ever paid a month’s rent or cleaned his nasty-ass room during his seven month stay). First of all, I was only “living” there because my girlfriend slash beeyatch! (no…really, you have no idea!) of 3 years and I were on a temporary “hiatus” so to speak (read: boyfriend liked to drink and blow money, which could’ve been the result of “I was 21 and she was 29″) and my cousin/roomate did me a solid and let me crash there until I got my sh*t together (I think I was working morning shift at UPS during this whole time frame). Okay, before I rant on some “it doesn’t pertain to me Eric, so what’s your point!” bullshit, I’ll do just that …..get to the point.

As I mentioned “First Family 4 Life” along with Fat Joe’s “Don Cartegena” (not one of my finer moments in Hip Hop) were constantly on “blast” throughout our weekly College Football Saturdays/NCAA Football 98′ on Playstation between games rivalries. Now, these NCAA 98′ games got to be pretty freakin‘ heated, with me being the hothead/shit talker that I’ve always been and my cousin who also ran about 6′5″ 230/240 lbs. being neck and neck with me as far as temperament. Well, let’s just say that I’m glad we had some cheap ass furniture, because most of it ended up in shambles as the result of M.O.P./Captain Morgan & Coke binges.  Two equally competitive natures equalling a fistfight or wrestling around on the floor like madmen trying to get a good lick in.

What about the album Eric? I really don’t have shit to say about “First Family 4 Life” other than it’s M.O.P. and M.O.P.=QUALITY ruckus, party-starter type shit!  I will say this though, listening to “New York Salute” off of the album today made me realize…..no one has hooked me up with the Da Beatminerz remix of D’Angelo’s “Brown Sugar” yet (it uses the same sample as “New York Salute”). Whaddup peoples….hook a brotha‘ up! Dayum!!

“Uptown Saturday Night”-Camp Lo (1997, Profile)

Hailing from the Bronx, Camp Lo successfully intertwined elements of Hip Hop while also incorporating elements of Jazz and Funk. After first appearing on the soundtrack for the Samuel L. Jackson thriller (insert sarcasm), “Great White Hype”, the duo of Sonny Cheeba and Geechi Suede scored a major ear-opener with the refreshing, unique sounds of “Coolie High”. The track was smooth and elegant yet street, much in part to the soulful production of Ski Beatz. In the early winter of ’97 the eclectic duo would release the highly underrated “Uptown Saturday Night” on Profile Records. Camp Lo effectively managed to avoid most jazz-rap cliches while also retaining their street cred and while the album didn’t necessarily break any barriers it was a nice venture away from the hoodie sporting, Timbo wearin’ Hip-Hop that ruled the airwaves from ’93-’96. With deft lyrics and a rhythmic touch both of the aforementioned emcees flowed effortlessly over the production laced by the man who gave Jay-Z’s debut album the “platinum touch”.

Ski’s production on “Uptown Saturday Night” is one of the album’s most desirable aspects. Ski is no doubt a skilled producer as he weaved funky sonic patterns that never seemed to sound too busy or overloaded. Ski’s production is very hard to categorize on this album, incorporating bits and pieces from Hip Hop, Jazz and even soul, the best words to describe his contributions are “rich” and “majestic”. As far as Sonny Cheeba and Geechi are concerned…you gotta’ give em’ style points, not only lyrically but with their unique, throwback garb as well. These cats definitely weren’t afraid to express themselves!

“Uptown Saturday Night” opens with “Krystal Karrington,” an upbeat track where Cheeba and Suede introduce themselves as lyricists with flair, thanks to their silky, smooth voices and deliveries. One of the best celebratory Hip Hop cuts soon follows, “Luchini, aka This Is It”. From the unforgetable chorus to the perfect horn-laden beat and joyfully. happy lyrics, this song is classic and nearly makes the album worth the purchase alone. “Park Joint” used a really catchy sample and I remember Pete Rock using this same sample in the past, I just can’t seem to put my finger on it. “B-Side to Hollywood” has jazzy horns as the duo steals the show on the mic and it doesn’t hurt that the track has a dope hook as well. “Killin’ `Em Softly” has a more down-tempo beat but some of album’s hardest verses can be found here. “Sparkle” just may very well be favorite track from the album, a jazzy and mystical “night-time” that is an absolute must have on your “chill” mixtapes or playlists. “Black Connection” has a moody and dramatic sample, once again the two rappers shine over even more great production, really bringing out the best in the music. “Swing” yet is another well-produced, catchy cut, and “Rockin’ It aka Spanish Harlem” sports an obvious Latin influence. “Say Word” and “Negro League” are two lyrical highlights. “Nicky Barnes aka It’s Alright” is loaded with style, and “Black Nostaljack aka Come On” is also one of my favorites on the disc. And, of course, “Coolie High” is gorgeous, slow, sultry and nostalgic all the same, b. The album closes with an interesting mix of “Sparkle,” it has no noticeable drumbeat and sounds like spoken whispered poetry.

“Uptown Saturday Night” is surely Camp Lo’s best piece of work to date as the duo’s most recent release “In Black Hollywood” was received with mixed results, while the duo’s second disc “Let’s Do It Again” was a huge disappointment, at least that is my perception. In short, “Uptown Saturday Night”, even with a few bumps in the road is definitely worthwhile if not nearly flawless.

“Ghetto Millionaire”-Royal Flush (1997, TVT)

Royal Flush, the Flushing, Queens native first landed himself a solo deal via his notable contributions to label-mate, Mic Geronimo’s debut “The Natural”. Unleashing the underground shiner, “Movin’ On Ya’ Weak Production” only raised anticipation levels for Flush’s debut “Ghetto Millionaire” released on TVT/Blunt in 1997. Following in the footsteps of the great emcees whom also hailed from his stomping grounds, Flush displayed an unyielding delivery and fierce syntactical rhetoric, as displayed on the plush “Iced Down Medallions”, which also featured Noreaga. The same case could have also been made for Flush’s NYC pledges of allegiance on “Rotten Apple”, “Worldwide” (those damn strings are eerie as hell!) and the breezy, Buckwild production “Everyday Dream”.

While the topic of domestic abuse has always been very high on the nation’s radar of consciousness, Flush’s stone-cold narrative “Hard Times” was a striking, emotional tale told through the eyes of the man who experienced those unfortunate events himself. Fed up with the physical abuse of his father on his family, Flush decided to “take matters into his own hands” as judged by the lyrics: “I went downstairs to grab the nine right from the sink/Came back upstairs and put the shit right up in his face/What up now Daddy?/I shot him in the face and smiled gladly”….some potent shit right there!

Despite the occasional attempt at day-time airplay, the Michael Jackson inspired “I Can’t Help It” and the umpteenth jerk of Roy Ayers on “Shine” being the two obvious instances, Flush’s debut is, overall, a sure thing. “Ghetto Millionaire” could have trimmed down a few tracks or so, but I truly believe that had this album dropped a few years prior to 1997 it would have been more than just a blip on underground Hip-Hop’s radar. The overall commercialism of Hip Hop in late-’97 really hurt “Ghetto Millionaire” from being recognized as one of the best releases from that same year.

“Stone Crazy”-The Beatnuts (1997, Relativity)

The trio err….on this album, duo of The Beatnuts have always been know for combining jazz fused rhythms with hardcore, raunchy lyrics highlighted ALWAYS by dense, provocative production. While lacking some of the energy that 1994′s self-titled (or “Street Level”) possessed, “Stone Crazy” continued to push the envelope of creativity, especially with the group’s biggest hit to date, “Off The Books”. Even though the ‘Nuts have never blown anyone out da’ box, lyrically…..they have always been at the forefront of East Coast production, carving out some of the best beats on this side of DJ Premier.

The ‘Nuts third effort, “Stone Crazy” hasn’t strayed from my “heavy rotation” since I purchased the album in early..get this, 2000! Yep, I’ll admit, I slept on this album big-time. Although, I do recall picking up the CD single for “Off The Books”, but hey..that was a given, right? “Stone Crazy” is an overall dope album that symbolized an era that will never return (although 2007 was a pretty darn good year for the music) – the era of good, solid rap music. Even then, the very thin line between commercial and underground was incresingly prevalent, but the Beatnuts music reverted back to a time when “good music” was just “good music”, nothing more nothing less. The lyrics are hardcore, but comedic as expected. The production was more so psychedelic on this release than their previous EP release, “Intoxicated Demons” and “Street Level”, but the beats were still raw and as gritty as ever.

Also, on “Stone Crazy” the ‘Nuts chose to unleash some new talent, such as Big Pun, Cuban Linx (not so much on the “talent” part with him though) and Screwball. JuJuis as violent as ever and Psycho Les is as funny as ever. This album is an overall great listen from beginning to end and even though this disc will most likely be remembered for it’s inclusion of “Off The Books”, “Do You Believe?”…in my opinion, is one of the best tracks from the Beatnuts notorious discography. Even short skits like “Intermission”, “Finger Smoke”, “Be Proud” and “Horny Horns”- short instrumental tracks – give the album a continuity almost unheard of on many albums today.

You can listen and digest the album from start to finish and see what the beatnuts are up to artistically and musically. Some cats might suggest that the lyrics are weak on this album but i strongly digress. As for the music and beats? Jujus’s flow and Psycho’s wit are a perfect fit for the lovely soundpieces. The music is never overshadowed and the lyrics are never all that bad. If you don’t own this album, get it. Your Hip Hop collection is almost incomplete without it!

“Hatred, Passion & Infedility”-Diamond D (1997, Mercury)

Bronx-bred producer-first and lyricist second, Diamond is especially skilled in mingling as a very efficient beatsmith and maybe not quite as much as an emcee. With a daunting task at hand, you go ‘head and try to match the classic status of “Stunts, Blunts & Hip-Hop, Diamond didn’t quite reach the extreme heights of creativity and originality attained on his unforgettable debut. Diamond’s sense of melody and rhythm make most of the 13 of 16 cuts he produced on “Hatred…” enjoyable instrumentally, but to be honest, there’s just something missing on this album. Was it the fact that this follow-up dropped nearly 5 (!!) years after “Stunts, Blunts and Hip Hop”, and the album fell on deaf ears…many of whom were to concerned with poppin’ bottles of imaginary Cristal? Or was it the fact that Diamond was just trying to keep pace with the overall change and direction of Hip Hop? Who knows, but with all the pitfalls on the album there was still enough then and even today to not totally write this one off as a “sophomore slump”.

Lyrically, Diamond is fairly swift with the tongue. However, “Hatred” at times suffered from thematic inconsistency: two instances, “Can’t Keep My Grands To Myself” and “Cream N Sunshine” were totally out of place and were both blatant, if not forced, attempts by to attract a different fan-base than those with whom “Stunts…” had made such an everlasting, positive impression on. Even the production on both of the aforementioned joints were totally uncharacteristic from one of D.I.T.C.’s finest. The rest of the tracks on the album were, for the most part, a fairly enjoyable and quite entertaining listen. Diamond’s “wingman” for much of the disc, John Dough, added decent lyrics to “Flowin”, “On Stage” and “J.D.’s Revenge”. However, if it was intended for John Dough to be what Snoop was to Dre (or vise versa), than this project was a total failure. Phife of A.T.C.Q. and Pete Rock both popped up on “Painz and Strife” for a decent showing and D.I.T.C. card carrying members Fat Joe, Big L, Lord Finesse and A.G. all joined Diamond on “5 Fingas of Death” for a dark and memorable posse track. Also, Sadat X appeared on two cuts, “K.T.” and “On Stage”, injected a much needed dose of flavor into both.

Aside from the obvious blemishes on this LP, “Hatred, Passion & Infidelity” was a fairly accurate representation of Diamond’s more than capable skills not only on the boards, but on the mic as well. However, I can’t….in my right mind, recommend this album for everyone. For TRUE D.I.T.C and Diamond D fans this album is a must have, if you haven’t sampled any portion of Diamond’s work as of yet then proceed to “Stunts, Blunts & Hip-Hop”. Satisfaction guaranteed!

“Many Facez”-Tracey Lee (1997, Universal)

From coast to coast, Tracey Lee’s first single “The Theme”, with it’s catchy hook and squeaky scratches had turned empty dance floors into a sea of gyrating hips and sweaty feet. But the question remained “would Tracey strictly be a “One Hit Wonder” or a legitimate artist”? Sad to say, it turned out to be the later. From the beginning of “Many Facez” you could sense that Tracey was on some other sh*t lyrically. The title track opened you up to his split personality and found Tracey and featured various persona’s over a fairly average drum track. Clearly not the illest lyricist, throughout “Many Facez” Lee’s strong suit was his vibrant vocal delivery and clever punchlines. At times, Tracey breathed new light into tired themes such as hard times (”On The Edge”), loyalty to your homies (”Who’s Crew?”) and boy-girl relationships (”Give It Up Baby”), by injecting clever twists that changed the lyrical direction of each aforementioned track. However, the downfall of the album is it’s bland production that remained faceless, hampering things throughout the disc’s entirety. Who knows, with the right production line-up Tracey may have avoided the “One Hit Wonder” tag that caused him to fade into obscurity. Although, didn’t I just hear him on a 9th Wonder track a few years ago?

“The Mind”-Chubb Rock (1997, Select)

Chubb’s 1997 release “The Mind”, was…at times….a refreshing reminder of truly intelligent and sometimes comical style that made the Chubbster a sentimental favorite of mine. While Chubb Rock is definitely not for everyone, he’s a rare emcee who could speak on serious topics without taking himself and the message involved to seriously. With “The Mind”, Chubb boldly injected some fun back into a marketplace that was flooded with over-saturated gangsterisms. The album started off nicely with “Reputation”, complete with an appearance from the Blastmaster Krs-One, which is soon followed by “I Am What I Am” and “The Man”, which insightfully depicted Chubb’s remedy for his afflictions that plague male/female relationships. Also of note is “Last Poet”, which featured some of the gentle giant’s best lyrical barbs. However, “Don’t Sleep” took a painful dive towards the end of the disc as Chubb dished out a series of bland tunes, including “Shake It Up”, “Take Your Time”, “Wake Up” and “Ecstasy Baby”, all of which don’t quite hold up to the previous R & B/Hip Hop collabos that could be found on Chubb’s earlier classics. While devoted fans of Chubb Rock will find some joy in “The Mind” and skip over the mediocre moments, the majority of the public will probably just throw this one back in the old shoe box, favoring Chubb’s earlier classic output such as ”The One” or “…And The Winner Is”.

“Scout’s Honor: By Way Of Blood”-Rampage (1997, Elektra)

Troublesome selections like the cream rap/R&B abused “Take It To The Streets” (f. Billy Lawrence) and the overworked Cameo-sounding funk of “We Getz Down” were tracks that came off as overly arranged and artificially constructed, and are also cuts that stick in everyone’s mind who has ever heard Rampage’s debut album. Topping it all off, Rampage’s ill-advised cover of Public Enemy’s classic “Public Enemy #1″ only added to the tasteless streak of popularized Hip-Hop remakes during 1997…not the best year for the artform. It’s at those instances where “Scout’s Honor…” became hard to swallow, with it’s contrived attempts at fulfilling the hot trends of the “jiggy” era. However, this freshman LP and it’s various conceptual “no-no’s” were somewhat redeemed by the remainder of the surprisingly well-produced and well-executed tracks. The pleasing “Talk Of The Town”, with sparse piano sprinkles and rumbling bass knocks, the adrenaline laced posse cut “Flipmode Is Da Squad” and the spacey “Get Da Money & Dip” saved “Scout’s Honor” from the dark doldrums of complete wackness. Still none of the aforementioned songs hold a candle to the blazing B-Side “Wild For Da Night” where Rampage complements the charismatic animation of his cousin Busta to near perfection. Despite his passion and the album’s mostly melodic beats, Rampage’s “Scout’s Honor…” fell short of satisfying all the hungry listeners. Though it may have been sub-par to today’s “Golden Era” standards, this was actually a pretty solid effort when in comparison to the majority of “jiggy” Hip Hop being released in ‘97.