(The final Reader Review for July is for an album that I know several of you two have been waiting for rather impatiently...so instead of me writing about it, Patrick decided to do it for me. I may still review it eventually, but for now, hopefully you're appeased with Patrick's thoughts on 2Pac's magnum opus, All Eyez On Me. Leave some comments for him below. Enjoy!)
So I'm getting to 2Pac's fourth album, All Eyez On Me, before Max. I imagine he doesn't care all that much, since it's yet another bloated double-disc affair, and he also doesn't seem to care much for the late Tupac Shakur.
I’m not going to waste this space with the man's background: everyone that follows this blog should already know his story, and if for some reason you aren't familiar, there are tons of websites you could Google that discuss the man, the myth, the legend. So, you know, stop being lazy and fucking look it up.
All Eyez On Me was the first double album commercially released in hip hop (it was not the first, but it was up there, and it's certainly the most successful), and it was also recorded in a two-week timeframe after 2Pac was sprung from the clink, so it's kind of a big deal. So big of a deal, in fact, that Pac's new label home, Death Row, and his new boss, Marion “Suge” Knight, held an advance copy from critics until after it hit store shelves, just so nobody would know anything about it when it dropped, not unlike what movie studios do with horror movies. Pretty sneaky.
When All Eyez On Me was released, it was snatched up like...well, I don't have a good simile to use here, so let's just say that a lot of people bought it. It was considered an instant classic, and The Source, once the embargo was finally lifted, awarded it their coveted five mics. And so on and so forth: everyone seemed to love this shit.
But how much of this praise was just a result of the insane amount of hype surrounding 2Pac's Death Row Records debut? Most double disc albums (of any genre) are full of filler, which is one of the main reasons I have no yearn to ever listen to MF Grimm's triple-disc American Hunger. (Seriously? What the fuck could you possibly have to say that takes up three CDs?) Also, I imagine that listening to All Eyez On Me on either vinyl or in cassette tape form would be a pain in the ass, with all of the flipping and switching that would be required.
Oh right, the music.
BOOK ONE (no, really, this is how they're referred to on the album):
1. AMBITIONZ AZ A RIDAH
All Eyez On Me kicks off with a track that I only occasionally enjoy; I suppose that indecision would rate this as a “meh”, since 2Pac has never been a great lyricist (with the lone exception being on Me Against The World). For those of you who weren't aware, there's a one-verse Mike Tyson tribute remix (entitled “Ambitionz Az A Fighta”) that was released fairly recently. I don't care for that version either, but I figured it was an interesting bit of trivia.
2. ALL BOUT U (FEAT OUTLAW IMMORTALZ, NATE DOGG, SNOOP DOGGY DOGG & DRU DOWN)
I actually don’t mind this song, although that doesn’t mean I think it’s any good. The Outlawz (or Outlaw Immortalz, as they used to call themselves) don’t bring anything memorable to the table (as is their default setting), and Snoop only shows up to talk a bit toward the end. Nate Dogg does exactly what you think he does, and West Coast stalwart Dru Down merely introduces each artist. Like many 2Pac songs, there is an alternate version of this song with a third Pac verse and no Outlawz contribution; this might have been the version intended for the original video before Suge Knight fucked everything up by throwing a potshot at Snoop (who left Death Row shortly after Pac's passing) into the track by including the soundalike Top Dogg for absolutely no reason on the version that made the Greatest Hits album. (Strangely, that version is called “All About U”; I'm not sure why they decided to clean up some of the spelling after the fact.)
3. SKANDALOUZ (FEAT NATE DOGG)
For someone who supposedly read nonstop, Pac sure does make a ton of spelling errors. But at least “Skandalouz” makes up for that lapse in judgment by actually being quite good. Daz’s beat is awesome, and Nate Dogg does what Nate Dogg does best. I've always thought this to be an underrated gem in 2Pac's catalog.
4. GOT MY MIND MADE UP (FEAT REDMAN, METHOD MAN, DAZ & KURUPT)
I once read an interview where Redman mentioned that he and Meth originally recorded this song as a collaboration with Tha Dogg Pound, but after 2Pac heard it, he wanted it for his own album, and Suge Knight waved his magic wand and made it so. Although the fact that 2Pac never actually worked with Redman and Method Man is a downer, this song is still pretty damn awesome. Also, the original version featured an Inspectah Deck verse at the end, which helps explain his random ad-libs at the end, which also add to just how good this track actually is. (So the question is: was Inspectah Deck supposed to work with Daz and Kurupt? Because if so, that could have been epic...or terrible. Could have gone either way, really.)
5. HOW DO YOU WANT IT (FEAT K-CI & JOJO)
I didn’t mind this song the first time I heard it, but now I can rarely sit through the damn thing. That pretty much sums up my thoughts on this song. However, the single was the preferred delivery method for the B-side “Hit 'Em Up”, so it isn't a total loss. (More on that track in a bit.)
6. 2 OF AMERIKAZ MOST WANTED (FEAT SNOOP DOGGY DOGG)
This was a decent enough collaboration between Death Row's two biggest names at the time (because Dr. Dre took himself out of the running), but the reason everyone remembers this song is because of its incendiary video, which took shots at The Notorious B.I.G. and Puff Daddy (or Buff and Pig, as their impersonators were named).
7. NO MORE PAIN
While the chorus, inspired by Method Man's “Bring The Pain”, was appreciated (mainly in a “I wish I was listening to Tical instead of this shit” kind of way), this ultimately wasn't a very good song.
8. HEARTZ OF MEN
Although this was never an official single, this fantastic track found its way onto 2Pac's Greatest Hits compilation anyway. DJ Quik provides a great instrumental, which Pac briefly uses to take some more shots at Biggie before switching his focus. I like how it uses of one of Richard Pryor’s comedy routines to break up the verses. Side note: Quik is one of the best producers in the game, but he unfortunately remains in Dr. Dre's shadow (sigh). (I have to agree with that last comment.)
9. LIFE GOES ON
It will, and it goes on even better without this track. (I'm not trying to be overly mean here: Pac's “How Long Will They Mourn Me” (from Thug Life: Volume 1) was also dedicated to his late friend Kato, so this song borders on overkill.)
10. ONLY GOD CAN JUDGE ME (FEAT RAPPIN’ 4-TAY)
Now this is a good song. In fact, if you were so inclined, you could completely delete “Life Goes On” from your iTunes playlist and have “Heartz Of Men” segue straight into this, and the album would actually sound better. But then again, I'm biased; I really hate “Life Goes On”.
11. TRADIN’ WAR STORIES (FEAT DRAMACYDAL, C-BO & STORM)
Not completely terrible, but not very good, either. It certainly has no business being over five minutes in length. However, unless I'm mistaken, this song contains one of the first instances of Pac referring to himself as his Makaveli alias. (Oooh, foreshadowing!)
12. CALIFORNIA LOVE (REMIX) (FEAT DR. DRE & ROGER TROUTMAN)
This remix is decent enough, I suppose. (The original allegedly didn't make the final cut of All Eyez On Me (in the United States, at least), even though a fucking video was shot and the song was played to death on the radio, due to issues with clearing the Joe Cocker sample.) If you pay close enough attention, you may notice that this remix's bass line is the same as is used on “Comin' At You” by the Monsta Island Czars (and also Diamond D's “Confused”); Dr. Dre has simply slowed it down and beefed it up a bit. Did you know that 2Pac and Dre shot a video for this remix, too? The clip is far less ambitious than the original (it takes place at a party, which is one of the worst hip hop video clichés there is), but it's somewhat interesting to know that the “to be continued...” teaser at the end of the first video was actually followed up with something.
13. I AIN’T MAD AT CHA (FEAT DANNY BOY)
Otherwise known as the song whose video features 2Pac rhyming while deceased in Heaven. This was released to MTV almost immediately after Pac was gunned down on the Las Vegas Strip: even this far removed from the original release date, it still feels creepy as hell. I like this track, but I prefer the radio edit, which inexplicably contains a better third verse and is generally more mellow.
14. WHAT’Z YA PHONE # (FEAT DANNY BOY)
This song did not need to be over five minutes long. I enjoyed the use of The Time's “777-9311” on here, but the fact that the final three minutes of Book One are spent with Pac talking dirty to some anonymous female was ridiculous. I have to admit, though, I did laugh a little at his visual image of a bear wiping its ass with a fluffy white rabbit, a description he apparently liked so much that he uses it twice. Also, what is it with rappers that can't be bothered to spell their words correctly? Do they have to pay their graphics department by the letter?
BOOK TWO:
1. CAN’T C ME (FEAT GEORGE CLINTON)
Whenever George Clinton makes an appearance on G-Funk beats, he always seems to make it sound like something special. This Dr. Dre beat (which was originally earmarked for a Dre and Ice Cube collaboration that was fucking erased by Suge Knight once Pac showed interest, thereby denying hip hop fanatics of something that could have been fucking brilliant) is pretty dope: it's too bad that this is his final contribution to All Eyez On Me. At least the song is really good.
2. SHORTY WANNA BE A THUG
While I can’t say that Pac's storytelling abilities are terrible, I can definitely say that I didn't care for this particular tale. Or for the song in general.
3. HOLLA AT ME (FEAT JEWELL)
Meh.
4. WONDA WHY THEY CALL YOU BITCH
2Pac records what is essentially his take on Jeru the Damaja's “Da Bichez”. I find that Jeru is the only rapper that is successful in rationalizing why he refers to certain women as bitches; his song was the only one of these two that I could side with (sort of). Also, dedicating this song to C. Delores Tucker (the scourge of gangsta rap) didn't help matters, as all he's doing is sending mixed singles, so I didn't really care for this song. Biggie's significant other Faith Evans, who was rumored to have slept with 2Pac (a rumor Pac certainly felt was substantial enough to spread himself) sang the chorus on the original version of this track; she was quietly edited from the final cut after the beef escalated between the East and West coasts. But her appearance is puzzling: did she even listen to the lyrics? All 2Pac does is talk about bitches, and Faith raised her hand and said “Oooh! Oooh! Me! I'm next!” Seriously?
5. WHEN WE RIDE (FEAT OUTLAW IMMORTALZ)
2Pac spends an entire song introducing the members of the Outlaw Immortalz, including Big Syke (as Mussolini) and Mopreme (under the alias Komani). Pac...um, sorry, I mean Makaveli doesn't do that bad of a job, but this was still a fairly forgettable track. The hook was also awful.
6. THUG PASSION (FEAT DRAMACYDAL, STORM, HUSSEIN FATAL, YAKI KADAFI, & JEWELL)
Pac introducing his cocktail as a drink that is “guaranteed to get a pussy wet and a dick hard” probably wasn't the best move from a marketing standpoint. This song marks the beginning of yet another trend rappers would jump on to: creating your own alcoholic beverage. Oh, how do I feel about the actual song? Pretty much the same way I feel about empties: I can’t wait to get rid of them and get some money back.
7. PICTURE ME ROLLIN’ (FEAT BIG SYKE, CPO & DANNY BOY)
On my first listen, I felt this track was just good enough, but now I enjoy it much more. I really like the uplifting feel that comes with the late Johnny “J”'s beat (R.I.P.). I also noticed that Pac mentions the fact that he has “two rottweilers by my bed, I feed them lead”. Not exactly the same as feeding your dogs gunpowder (so that they can devour the criminals trying to drop your decimals), but it definitely sounds familiar. I'm just sayin'.
8. CHECK OUT TIME (FEAT KURUPT, BIG SYKE, & NATASHA WALKER)
This upbeat West Coast beat is quite nice (thanks again to Johnny “J”). Although I don't typically care for sex raps, this was rather enjoyable.
9. RATHA BE YA N---A (FEAT RICHIE RICH)
And I’d ratha be the one who didn’t have to listen to this song.
10. ALL EYEZ ON ME (FEAT BIG SYKE)
Also known as the song that uses the same sample as Nas’s “Street Dreams”. I prefer the Nas song, but this isn’t bad. However, 2Pac’s lyric, “depend on me like the 1st and 15th”, makes me think of 50 Cent’s “I love you like a fat kid loves cake” line; it's corny as hell. (And yes, I'm pretty sure I'll receive some backlash for indirectly comparing 2Pac with 50 Cent.)
11. RUN THA STREETZ (FEAT MICHEL’LE, STORM & MUTAH)
In case you weren't aware, Mutah is better known as the rapper Napoleon. (As if it even matters.) The instrumental tries its best, but ultimately fails, and the lyrics aren't even worth discussing. Songs such as this are why the 'skip' button was invented in the first place. In fact, you may skip the track, click back to it, and skip it again, just to show it that you mean business.
12. AIN’T HARD 2 FIND (FEAT B-LEGIT, C-BO, D-SHOT, E-40 & RICHIE RICH)
I’m assuming Richie Rich was included merely because having a posse cut with the rest of the alphabet just wasn’t physically possible. Every time I begin this track, I'm tricked into thinking that it's growing on me, but then I sit through all of the verses and I come to my senses. So this track is merely alright; it's definitely nothing spectacular. Kurupt and/or Tha Dogg Pound probably could have done something better with the instrumental.
13. HEAVEN AIN’T HARD 2 FIND (FEAT DANNY BOY)
Because this includes the same bass line as MC Breed's “Gotta Get Mine” (which also featured 2Pac), by law it merits a comparison. “Gotta Get Mine” is the far better track: QDIII's beat isn't that great, and Pac's lyrics fail to impress. I think the bass line is the only thing that helped me get through this.
(International copies of All Eyez On Me include a bonus track: the original version of “California Love”, albeit in a shortened, edited form.)
I could end the review here, but there are two additional songs that didn't make the final cut of All Eyez On Me that still need to be addressed.
CALIFORNIA LOVE (FEAT DR. DRE & ROGER TROUTMAN)
Yes, I'm talking about the original six-minute version, Mad Max-inspired video and all. Not the one from the “California Love” single or the Greatest Hits compilation (nor, from what I gather, from international copies of All Eyez On Me). I can see why most folks may not take to this version, but I think it's pretty good. Roger Troutman's use of the Talk box is also the shit: Troutman merely sounds like a robot, while all of these chumps abusing Auto-Tune these days sound like they're singing while gargling a mouth full of Scope.
HIT ‘EM UP (FEAT THE OUTLAWZ)
You already know this track: it's often referred to as the greatest dis record of all time. It samples “Don't Look Any Further”, a song from Dennis Edwards and Siedah Garrett that was also utilized for, oddly enough, Junior M.A.F.I.A.'s “Gettin' Money (The Get Money Remix)” (and also Eric B. & Rakim's superior “Paid In Full”). Personally, I think the song goes too far: in fact, I would go so far as to say that “Hit 'Em Up” is directly to blame for the battle records we have to suffer through today, as everyone today is simply trying to replicate 2Pac on this recording. 2Pac threatens to ride on his enemies (primarily Biggie Smalls), brags about fucking Biggie's wife, brags about his sales figures (in this fashion, he would totally fit in with the materialistic rappers today, those who believe that record sales somehow measure talent), curses out Chino XL, and even calls out Prodigy (of Mobb Deep) for suffering from sickle-cell anemia. This is an ugly song, no question about it. 2Pac tried to defend his actions by claiming that he didn't intentionally add fuel to the East Coast vs. West Coast fire, but that is simply bullshit. In all, I don't care for this song. (Yeah, I said it.)
FINAL THOUGHTS: First off, I think it was a good thing I reviewed All Eyez On Me before Max, as he probably would have shit on these discs... and if frustrated enough, possibly literally. Secondly, I am a 2Pac fan, and luckily I bought this album (used) while I was catching up on some other hip hop classics. With that said, All Eyez On Me is much like Life After Death, Stillmatic, The Blueprint, 2001 and Only Built 4 Cuban Linx...Pt. II in that all of the examples named contain some great songs, but their classic status was mainly achieved due to the hype and anticipation that built up prior to their release, so when fans were finally able to get their hands on them, they were quick to proclaim each project as great, mainly because they were so happy that it actually existed. The albums I listed are all pretty good: they're just not the classics that everyone wants them to be, and All Eyez On Me is no better, nor is it worse. Pre-Death Row 2Pac was much better, as he wasn’t focused on dissing people and paranoid that everyone was against him (um, what about Me Against The World?), choosing instead to hone his lyricism and take his time crafting actual songs. (Once again, All Eyez On Me was recorded in two weeks.)
BUY OR BURN?: If you are a 2Pac fan, you already own this (and if you are an 2Pac stan, you probably swear by it). For everyone else, you should probably pick up a used copy, as the first disc is pretty entertaining. The second disc is mostly filler, but hey, at least Pac was nice enough to put the majority of the crappy songs on one disc for us to ignore. However, if you're new to the 2Pac saga and are looking to build your collection, this album can most definitely wait.
BEST TRACKS: “Skandalouz”; “Got My Mind Made Up”; “2 Of Amerikaz Most Wanted”; “Heartz Of Men”, “Only Got Can Judge Me”; “I Ain’t Mad At Cha”; “Can’t C Me”; “Picture Me Rollin’”
-Patrick (click here to visit my YouTube channel)
(Fuck, that was long. And with that, Reader Review month is over. Questions? Comments? Requests? Leave them for Patrick below, or hit me up at my e-mail address.)
(For today's post, Rex tackles the most recent album from Royce da 5'9”, Street Hop. This was one of those discs that I had been meaning to get to, but shit kept getting in the way, so at least someone was able to write it up. Leave some messages for Rex below.)
Royce da 5'9” was on the verge of being forgotten. During the late 1990s and the early millennium, Ryan Montgomery was poised to emerge as one of the best newcomers in hip hop, especially after making a guest appearance on Eminem's quadruple-platinum debut The Slim Shady LP and writing several tracks for Dr. Dre's 2001. Unfortunately, it didn't pan out that way: Dre fired him after his manager began talking recklessly about Royce's contributions, and by the time his own debut album, Rock City, leaked to the Interweb, confidence in the man was at an all-time low, leading to a (now-squashed) beef with Em and his D-12 crew and severs bouts with depression and alcoholism. These demons all merged together to help him craft a terrific sophomore album, Death Is Certain, but he even squandered that goodwill with Independent's Day, an overly awful album that should have ended his career.
However, after taking control of his own life, things started changing for the better. He dropped two volumes in his critically acclaimed The Bar Exam mixtape series (the third chapter hit blogs earlier this year), and he aligned himself with the like-minded Crooked I, Joell Ortiz, and Joe Budden to form the supergroup Slaughterhouse. He followed this with Street Hop, his fourth full-length album (released shortly after The Revival EP previewed some of the tracks) Executive produced by the one and only DJ Premier, Street Hop features cameos from his Slaughterhouse brethren (although Joey only makes one appearance while the other two have twice as much – that just makes me laugh, like when Joey was left off of the Eminem collaboration) and other big names such as Busta Rhymes, Phonte, Bun B, and, um, Trick-Trick; production was handled by the likes of Emile, Nottz, Mr. Porter, Carlos “6 July” Brody, StreetRunner, and Primo himself.
Royce seemingly pulled out all the stops to make Street Hop his best album, as he wanted to be held in such high regard as bigger names such as Eminem and Nas (who was once rumored to have signed Ryan to a Def Jam contract at one point). Without further ado, here's the review.
1. GUN HARMONIZING (FEAT CROOKED I)
This track originally appeared on The Revival EP, although this time around it includes an assist from Crooked I. While Emile provides a good beat and both artists come through with decent verses, the chorus, which features Ryan imitating the sound of gunshots, is sooooooo annoying. The hook ruins what is otherwise a good song.
2. COUNT FOR NOTHING
Also from The Revival EP, but this time around, Royce simply reuses the original song. Although that seems pretty dumb from a business point of view, this shit still knocks. Producer Nottz brings a heater for Royce to shit all over, and the way he uses the vocal sample of Public Enemy's Chuck D counting from one to nine (not unlike how DJ Premier used the same sample on Biggie's “Ten Crack Commandments”) to kick off his bars was pretty great.
3. SOLDIER (FEAT KID VISHIS & IYANA DEAN)
Frequency's beat is too poppy for me, and the hook isn't all that great, but Royce's playful threats and fucked up insults lift this track above mediocrity. Royce's brother Kid Vishis is alright too, I suppose.
4. SOMETHING 2 RIDE 2 (FEAT PHONTE)
My first reaction to reading the album credits went along the lines of this: “Phonte! OMG!!!!!” Then I realized that the emcee (formerly of Little Brother) only provides a part of the chorus. Oh well. The beat isn't that good, but it serves its purpose. (You'll be especially disappointed to find that DJ Premier provided the instrumental.) Royce doesn't do anything special, either. Skip.
5. DINNER TIME (FEAT BUSTA RHYMES)
Quincey Tones (Yeah, I don't know who he is either) supplies exactly the right type of beat for Royce to tear the fuck apart with some great lyrics that he delivers as only he can. Busta Rhymes plays the role of hypeman before supplying a decent verse of his own. Easily the best track on Street Hop so far.
6. FAR AWAY
This beat from Emile is highly commercial, but it somehow works regardless. The hook is garbage, though. Ryan manages to save the track with some goofy bars and his typical gangsta shit-talking. However, this won't be to everyone's tastes.
7. WARRIORS (FEAT SLAUGHTERHOUSE & MELANIE RUTHERFORD)
Another addition from The Revival EP, the best one thus far. StreetRunner brings the heat with some cinematic horns and opera vocals crooning in the background. Each Slaughterhouse member gets two verses, and all four of them straight up rip shit. Appropriately enough, Royce truly bodies the beat, with Crooked not far behind.
8. ...A BRIEF INTERMISSION (SKIT)
Funny the first time around, but you won't ever need to hear it again. (I'm more intrigued by the fact that the Interweb seems to believe that this skit was produced by David Cross, of Mr. Show and Arrested Development fame. Any truth to this rumor? Let me know.)
9. NEW MONEY
And StreetRunner does it again. This beat is the perfect foil to Royce's shit talking, and the Beastie Boys sample gives the track a nice charm. Also, the chorus isn't awful. This was pretty great.
10. SHAKE THIS
“Shake This” was released almost a full year before Street Hop, but it still sounds pretty good. Over a much better Primo beat than “Something 2 Ride 2”, Ryan dives deep into his personal problems. The flow and pace of this song reminded me of “One Mic” from Nas.
11. GANGSTA (FEAT TRICK-TRICK)
A very generic rap song title obscures a track that is much better than you would imagine. A good instrumental (provided by Raf Moses) allows Royce to discuss his life as a Detroit gangsta, while fellow Motown rapper Trick-Trick simply closes out the track with a brief monologue about how gangsta he is. Yes, it sounds redundant, but it works, although it would have been better without the guest star.
12. MINE IN THIZ (FEAR MR. PORTER)
A sex rap with a dirty ass club beat (from guest star Mr. Porter, who also helps on the hook). Royce uses this time to get buck nasty with the beat. Not the best song in the world, but a guilty pleasure nonetheless.
13. STREET HOP 2010
The fourth and final track lifted directly from The Revival EP features some Middle East-ish sound effects (courtesy of producer Nottz). It's truly a mediocre beat, but what's worse is Royce's performance, which is easily the worst on the entire album. He speaks with no clear direction, mistaking pop culture references for depth. This wasn't interesting at all, and it should have been left behind on the EP.
14. THING FOR YOUR GIRLFRIEND (FEAT K-YOUNG)
This track kicks off with a funny skit that you'll only have to listen to once. When the actual song starts, though, we get a nice soulful beat from Mr. Porter and some pleasant vocals K-Young. Royce channels his inner Isacc Hayes and spits a couple of nice verses about the pleasures of having sex with fine women (what else would he rap about?) Not bad.
15. ON THE RUN
As indirectly as it may be, this track might as well be a continuation of the Kool G. Rap classic. Royce spits about being on the run over an epic, cinematic beat from Emile, complete with some great vocals worked in. A true highlight of Street Hop.
16. MURDER
It's strange that Ryan would sequence two storytelling tracks right next to each other. It features a beat similar to “On The Run” (although Frequency's work is still pretty good) and another vital performance from our host, but the song's strength is impaired due to the proximity to the previous track.
17. BAD BOY (FEAT JUNGLE ROCK JR.)
A reggae tinged beat featuring Royce spitting with a fake Jamaican accent? Far too annoying to enjoy.
18. PART OF ME
Now this is more like it. A fantastic instrumental from (frequent collaborator) 6 July and some great attention to detail from Royce. This was really good.
19. HOOD LOVE (FEAT BUN B & JOELL ORTIZ)
While “Shake This” was Primo's best beat on Street Hop (and “Something 2 Ride 2” was just bad), “Hood Love” is merely good. The concept of each artist saluting the hood meshes well with the instrumental, making this a very organic way to cap off the evening.
Street Hop was later reworked into a “deluxe” format with three additional tracks.
20. I'M FRESH (FEAT MR. PORTER)
Mr. Porter, who actually produced all three bonus tracks (so where's that D-12 collaboration at, Royce?), supplies Royce with a interesting vehicle for his lyrics. This track absolutely should have made the final cut of Street Hop.
21. IT'S ALL ABOUT (FEAT GRAFH)
While the instrumental sounded nice, our host only remembers to bring his generic gangsta shit notepad; his guest Grafh fares much better. The hook would have probably been terrible regardless.
22. MY OWN PLANET (FEAT BIG SEAN)
Meh.
FINAL THOUGHTS: My, how high the phoenix has risen from the ashes. Royce da 5'9” has rigged Street Hop with several standout tracks that inserted him back into hip hop's conscience, perhaps this time permanently. However, it's far from perfect: some of this is pure garbage. I was also highly disappointed by the combination of DJ Premier's first contribution and Phonte being reduced to hook duties. The reggae offering was also pretty terrible, and the skits were fairly useless. However, when it comes down to it, Street Hop is Royce's best album, although far from his most consistent. (I would probably give that award to Death Is Certain.) In the end, Royce shows listeners that he still possesses tremendous talent, pissing me off even more that the Bad Meets Evil joint album never happened. Oh well.
BUY OR BURN? I recommend a purchase, as several of the songs one here are more than worth your money. You don't need to hunt down the deluxe version, though
BEST TRACKS: “It's All About”; “Hood Love”; “On the Run”; “Warriors”; “Count for Nothing”; “Shake This”; “New Money”; “Part Of Me”; “Dinner Time”; “Thing for Your Girlfriend”; “Mine In Thiz”
B-SIDE TO TRACK DOWN: “Gimme Money”: this track was the original incarnation of what ended up becoming “New Money”, which couldn't get past the sample clearance stage. Although it does have completely different lyrics and an entirely different beat, so maybe they should be looked at as separate entities. Either way, it's a good track worth hunting down.
-Rex
(Questions? Comments? Concerns? Leave some notes for Rex below.)
(Even money that most of you two have never heard of this shit, so here you go: Today's Reader Review features TheOtherNewestOne chatting up Bike For Three!'s debut project, More Heart Than Brains. Keep reading for further explanation, and leave some comments for him below.)
Bike For Three! Is a duo made up of a rapper and a producer who haven't ever really met each other (at least as of this writing); they met online and collaborated on their debut project, More Heart Than Brains, by sending mp3s back and forth to each other.
You probably haven’t heard of either half of this duo, so here’s a little background that I was able to scrounge up off of Wikipedia: Richard Terfry, known to his parents as Buck 65, is a Canadian underground hip-hop artist, MC and turntablist, who has been dropping albums since 1995, most of which are classified as “abstract hip hop” (whatever that means). The other half is made up of Belgian producer Joelle Phuong Minh Le, who lives under the stage name Greetings From Tuskan. Unfortunately, that’s all I’ve got on her. (I told you it would be a “little” background.)
More Heart Than Brains is their debut album, released in 2009 on the Anticon label that Buck used to be a part of as a solo artist.
1. BEGINNING
It’s only a minute long, and it consists of just sound. It's better than your usual rap album intro, though.
2. ALL THERE IS TO SAY ABOUT LOVE
I have no idea where the vocal sample at the beginning comes from. That said, the beat on here is fucking nice. In fact, the beats on this entire album are consistent both in sound and quality. The lyrics are pretty solid, as well: if only I knew what he was talking about. I believe the song is about a relationship turned sour (a running theme throughout More Heart Than Brains), but he talks about it in such an obscure and cryptic way.
3. LAZARUS PHENOMENON
Fantastic. This song actually has a decipherable meaning! Another solid instrumental, perhaps simpler than most of the album, although I may only be reaching that conclusion because this is so drastically slowed down when compared to the previous track. The actual rapping on here is pretty good: the wordplay could be a little more fun, but Buck 65 isn’t Busdriver or anything, and I wasn’t expecting insane speed raps when I bought/stole/appropriated More Heart Than Brains.
4. NIGHTDRIVING
I have no idea why the title is compressed into one word. Yet another song in which the true meaning takes work to discern: the car crash theme is evident throughout most of the track, but certain parts stray from the theme. Anyway, this beat, Buck's flow, and his rhymes are fucking sick. Also, most rap songs that continue on long after the verses have ended usually piss me off, but on here it works out well, especially given what Buck does with his voice. Despite the unclear meaning in certain parts, this is one of my favorite songs on the album. Fucking amazing.
5. THERE IS ONLY ONE OF US
And we're back to a slower beat on here. I like what Buck does with his voice when he says “kiss you slow.” The rapping here…well, there really isn’t any, it's more like spoken word poetry over a beat. There are a few parts with rhyming, sure, but for the most part this isn't much of a rap song. But I still find it to be a decent song. Certainly not one of the album's best, though.
6. NO IDEA HOW
A cool, very liquid beat accompanies Buck on this track. That’s all I’ve got. Good, but not earth-shattering.
7. ALWAYS WILL MISS YOU. ALWAYS YOU
Contains the weakest beat of the whole of More Heart Than Brains. Not to say it isn’t good, but while I've noticed how the instrumental really meshes with Buck 65's vocals on every other song, it just doesn't happen here. Despite this handicap, Buck has a decent flow here and proves to be an incredibly good storyteller.
8. THE DEPARTURE
Fantastic beat, but overall, this track is pretty repetitive, and it lasts for far too long (the ending is made up of the chorus, recited over and over for about forty seconds).
9. FIRST EMBRACE
Dark and somewhat haunting musical accompaniment join Mr. Terfry on this song. His rhymes might not be at their best here, but his flow is still pretty good on this very surreal track. The best line here is probably, “Blackbirds fly backwards. Something to look forward to”, mostly because of the delivery. The whole song is just odd and basically consists of sentence fragments strung together. The English teacher in me does not approve. But it was still a good song.
10. CAN FEEL LOVE (ANYMORE)
The beat starts off okay enough, but gets much more involved with time. However, I didn’t pay much attention to the instrumental, as Buck is just awesome on here. This is a fantastic song about an expectant father wondering what his daughter will be like, a reflection on his own childhood and how he should raise her. Lyrically, this is one of the most impressive songs on the album, even if the rhymes aren’t exactly RZA-quality material. (Personally, I've never found The RZA to be one of the premier lyricists of our time, but I'll let that comparison slide.)
11. ONE MORE TIME FOREVER
It’s probably a bad sign for the health of my psyche that I laughed at Buck’s line, “Dead dogs, new tricks.” With that said, the song is pretty good. It is in no way memorable, though, and that could be perceived as either a good or a bad thing.
12. MC SPACE
Yep, this is a cover of an MC Shan song. I’m going to stop for a second and let that sink in. Yes, a cover song. In hip hop. What the fuck?! (This isn't unheard of, you know; it's just rare these days, when everyone with a pad and a pen thinks they can string rhymes together. I think the fact that there are cover versions help lend credence to hip hop as a lasting musical genre. But I'm getting preachy here. Back to you!) There is absolutely nothing new here, as the beat is essentially a higher-energy version of the original and the lyrics are exactly the same. I understand wanting to honor your influences, but this amounts to straight-up plagiarism.
13. LET'S NEVER MEET
The concept here is interesting, but the track was pretty average overall. Oh, what’s that? You wanted more explanation? Well, too bad.
14. MORE HEART THAN BRAINS
This title track was cool. However, there isn't a lot of rapping, so although I loved the beat and the computerized voice, I doubt that most hip hop heads (let alone most of Max's two readers) will particularly enjoy this. Oh well, at least it leads into the next track.
15. THE ENDING
A nice instrumental to end the project. Nothing more, nothing less.
FINAL THOUGHTS: First of all, I'm grateful that More Heart Than Brains has no annoying bullshit rap album intro: the first and last tracks serve a musical purpose. When I first heard about Bike For Three! and this project, I swear it was described as a concept album regarding love and relationships, and though I can no longer find reference to that on the web, it certainly helps place the lyrics in perspective. Buck 65's lyrical style is oddly surreal; he has an unrivaled ability to tell a story and his word selection is very poetic. I am a huge Buck 65 fan, but even though he is quite amazing on here in parts, the star of the More Heart Than Brains show is truly Joelle Phuong Minh Le: her beats provide many of the most memorable parts of the project, particularly on the first third of the album. Also, she goes by the name Greetings From Tuskan, which I think is a Star Wars reference, which is fucking awesome. Then again, I might be wrong, but I prefer to think of her in that fashion, so I will.
BUY OR BURN? This is an absolute, never-have-been-so-sure-of-anything-in-my-life purchase. Even with minor quibbles and the ridiculous MC Shan cover (I mean, seriously, what the fuck?!), this is a fantastic fucking album.
BEST TRACKS: “Nightdriving”; “Can Feel Love (Anymore)”; “Lazarus Phenomenon”; “First Embrace”
-TheOtherNewestOne
(Questions? Comments? Concerns? Leave some notes below.)
(Today's Reader Review is for We Can't Be Stopped, the fourth effort from Houston's own Geto Boys. P_Captain provides some brief commentary this time around, so be sure to leave him some notes when you're done reading.)
The Geto Boys, made up of rappers Scarface, Willie D, and Bushwick Bill, along with DJ Ready Red, followed up their controversial eponymous third effort with We Can't Be Stopped less than one year later. Although he had contributed beats here and there, and even managed a few vocal appearances, DJ Ready Red decided that it was best for him to leave the group and enjoy his newly married life instead, thereby leaving the group the trio that most hip hop heads are most familiar with.
They decided to carry on without him, getting help from the rest of the in-house producers in the Rap-A-Lot family. However, before recording even started, Bushwick Bill shot his eye out. No, seriously: after one night of drinking the shit out of some Everclear while suffering from depression, Bill asked his girlfriend at the time to shoot him. She refused, so Bill took out his pistol, loaded it, and handed it to her; following an argument, the gun went off and his eye was completely destroyed.
Bushwick Bill managed to survive the accident after being rushed to the hospital; after a few days of recovery, Scarface and Willie D came to visit their friend and snapped what ended up being the cover photo for We Can't Be Stopped, on which Bill's damaged eye is clearly visible. (You can hear about the accident in greater detail by checking out Bushwick Bill's solo song "Ever So Clear" from his album Little Big Man.) Following the near-tragedy, the Geto Boys returned to the studio and began to record their fourth album (okay, technically it was their third album as a the Geto Boys; the first album released under the name, Making Trouble, was performed by an almost entirely different group of people under the same name and record label).
While their previous albums were centered lyrically around violent gangsta rap and, on occasion, took left-field excursions into deeper tracks such as "Life In The Fast Lane" and "City Under Siege", We Can't Be Stopped found the trio improving their writing and expanding their horizons (everyone except Bushwick Bill, that it: he was still new to the craft of songwriting and let his friends pen his rhymes). Also, for some reason, We Can't Be Stopped made a conscious effort to include more solo songs for each member than other group efforts had previously.
Anyway, onto the review.
1. REBEL RAP FAMILY
Rap album intro. Next!
2. WE CAN'T BE STOPPED
After the controversy that surrounded their previous effort, the Boys put the Parents Music Resource Center (or the PMRC, as they're better known) and their former label, Geffen Records, on full blast, and everything they say is noteworthy. Willie D manages to turn in the best performance.
3. HOMIE DON'T PLAY THAT
A Willie D solo over a mix of familiar samples, most notably Funkadelic's "(Not Just) Knee Deep". I can only relate to some of what he's talking about, but it's easy for anyone to see where he's coming from. As an added bonus, his yelling style appears in full force on here, and he doesn't let us down.
4. ANOTHER N----R IN THE MORGUE
Scarface's first solo song, and to the surprise of nobody who has taken the time to read the song's title, he elects to stick with his gangsta rap background, threatening his enemies as only he can.
5. CHUCKIE
Finally, Bushwick Bill receives his first solo track, with lyrics written by horrorcore rapper Ganksta NIP. The song clearly mirrors what the average NIP song would say, but the guest writer isn't short, and therefore, this was obviously made with Bushwick Bill in mind. For his part, Bill takes on the persona of the killer doll from the Child's Play movies, and the lyrics are so over the top that you can't help but laugh at the sheer audacity of it all.
6. MIND PLAYING TRICKS ON ME
This classic exercise in the power of paranoia is simply legendary, as everything from the chilling Isaac Hayes sample to the verses are all perfect. I honestly don't think there's a need to explain why this song is so amazing: this is the group's signature song for good reason.
7. I'M NOT A GENTLEMAN
Another Willie D solo. Also quite the anti-chivalry theme song.
8. GOTA LET YOUR NUTS HANG
Scarface solo number two, and I'm betting that most new listeners will recognize the first few lines thanks to 2Pac sampling it on his "Point the Finga" track from Strictly 4 My N.*.*.*.*.Z.
9. FUCK A WAR
One of the best anti-war hip hop songs out there, thanks to Bushwick's angrily passionate lyrics and the quick sample of Eric B. & Rakim's “I Know You Got Soul” that weaves in throughout. This track contains one of the best performances that I've ever heard from a rapper ever.
10. AIN'T WITH BEING BROKE
The third and final group song features the Geto Boys discussing poverty and discovering new ways to improve their financial situations. The catchy sing-along chorus steals the show.
11. QUICKIE
What a waste of a smooth beat. Scarface uses up his third solo effort on a pointless sex rap with one of the most unimaginative choruses ever recorded, consisting of a girl moaning and nothing more.
12. PUNK-BITCH GAME
This isn't an actual song, so you can just skip it.
13. THE OTHER LEVEL
Bushwick Bill gets a sex rap, too, and he takes it as far as he can physically go. Clocking in at about six minutes long, though, it wears out its welcome very quickly.
14. TROPHY
The final track on We Can't Be Stopped is Willie D's third solo effort, and he puts all of his guns to use in his attack on the popularity contest better known as the Grammy awards. (Hey, better than the American Music Awards, right? Those things are even fucking useless as paperweights.) I'm definitely with him when it comes to the real Grammy winners mentioned at the end, though.
FINAL THOUGHTS: Thanks in part to "Mind Playing Tricks On Me", We Can't Be Stopped proved to be a success, earning the Geto Boys a well-deserved platinum plaque. Although some of the tracks don't hold up as well as I would like, it's still a pleasing listen, and at only fourteen tracks, it doesn't overstay it's welcome. The project doesn't manage to beat out its predecessor, but it comes pretty damn close, with some fairly consistent production work and some great performances by all three of the Boys.
BUY OR BURN? Without question, I think you should buy this album. If you are the overly sensitive type, listening to this might even help you mature and not sweat the small stuff.
BEST TRACKS: "Mind Playing Tricks on Me"; "Chuckie"; "I'm Not a Gentleman"; "Ain't with Being Broke"; "Fuck a War"
-P_Captain
(Questions? Comments? Concerns? Leave some messages below.)
(Today's Reader Review is for the Terror Squad's debut group album, called, appropriately enough, The Album. The Grinch provides the insight; leave some notes for him below.)
If you are a hip hop head, and you prefer the genre in its purest form, then chances are you have heard of Big Pun, the late Puerto Rican Bronx-bred emcee who is one of the most missed legends in the game, even though we all know damn well that he would actually be collaborating with the likes of T-Pain and Lil' Wayne if he were still with us today, having sold his soul to remain relevant in then fickle music industry. Regardless, due to the man's popularity and the fact that he finally put East Coast Latino rappers on the map in a way that nobody else had before (or since; he's been the most successful one) (because Pitbull doesn't count), it wasn't surprising to see that his crew, the Terror Squad (made up of Cuban Link, Prospect, Triple Seis, Armageddon, and the tag team, buffet-clearing duo of Fat Joe and Pun himself), release their own album, conveniently titled The Album, in 1999.
Terror Squad began life as a group that called themselves the Full-A-Clips Crew; only Pun, Cuban, Triple Seis, and Prospect were among its ranks. Seeing dollar signs in his eyes after having paired up with Big Punisher, Fat Joe added himself and Armageddon (the only guy to stand by Joe after Pun passed away), and gently persuaded them to change the name to the far more generic Terror Squad (which sounds like a league of evil-doers in a horrible comic book series). The Album would end up being the only album released under this particular regime, although other Terror Squad projects exist, thanks once again to Joey Crack's greed.
As a New York-born, Hispanic Hip-Hop head, I've always been annoyed to see that the people who represent our culture, to the point that the average American thinks that they are standard examples, are as follows: the Taco Bell chihuahua; the young Cuban gardener who is the secret sexual fantasy of at least one married woman in every television series or movie (at least the ones showcasing suburban melancholy); and one of the millions of maids who panic and scream "¡Ay dios mio!” whenever something, anything happens on her Telemundo telenovela. So when I discovered this old Terror Squad album, I was pleased that these six guys showcased more than just mere stereotypes, and putting my pride aside, I was just glad that these guys were damn good lyricists. (However, I am now disappointed and angry that I used up my “personal story” paragraph to talk about the Taco Bell dog.)
Upon the release of The Album, the average hip hop head fluctuated between one of two opinions: (1) "Haha lol doze duds copy pun's style, soooee lame" (yes, some rap fans are smart!), and (2) "Big Pun wrote the whole album". Now let me set things straight: I am a die-hard Big Punisher stan. The guy was one of probably three rappers in the entire industry who lived a true and humble life, and his talent is matched by no other. (The other notoriously fat guy is out there sucking on your daddy's dick because you look so good.) That said, The Album marked the beginning of the end. Pun rhymes throughout the entire project as though he had Twinkie filling pumping through his veins (and more importantly, in his mouth). Because of this fact, the true highlight of The Album are all of the other guys who stood in the spotlight for the first (and only) time of their lives; this disc contains the only studio-released examples of somebody spanking Big Pun on wax. Now how could Big Pun write every single verse and still manage to sound a level below his chauffeurs? Next you'll probably tell me that Twilight is actually a good movie.
I can't say anything else here without revealing my final thoughts on The Album, so please, take a seat (because you have, obviously, been riding a horse this entire time), grab a Kit-Kat bar, turn on your “good hip hop” radar, and picture Big Punisher naked. Great; no matter what, this album will sound much better than that image.
1. IN FOR LIFE
Skipping the mandatory rap album intro and jumping straight into an opening Pun verse is the perfect way to kick The Album off. This is the type of track that makes you want to dance with some ugly dead dude while trapped in the morgue. Triple Seis (the guy standing in the rear on the album cover who looks like Master Splinter) sounds boring, but thank God the two guys who follow are Prospect (who delivers some damn good lines) and Cuban Link, whose flow is incredible. The chorus is meh, and Fat Joe pops out at the end to say...nothing. Yay.
2. PASS THE GLOCK
The "Terror Squad!" sound bite looped in the background is (surprise!) annoying as hell, but thankfully it doesn't stick around during the actual rhymes. Triple Seis earns his wings back, Cuban Link slaps you in the face (I'll tell you now, he's the best thing on the entire album), Prospect sounds pretty hot (but I'm straight, so don't get any ideas), and Big Pun is, well, Big Pun. But the biggest shock on her comes from Fat Joe, who isn't good, but he manages to keep your finger off the "fast-forward" button. Overall, this was a good track.
3. '99 LIVE
Once the beat kicks in, you'll immediately find this song to be lame. It also happens to be Prospect's solo effort, and since it's nothing special, I suggest that you all simply pass. Which is too bad, as Prospect isn't bad or anything; he just sounds boring.
4. WHAT'CHA GON' DO?
Big Punisher's solo track, and it is awful. This the only single which the Terror Squad shot a video for (where I got to watch my favorite rapper pretend to be a hobo on a bench. Thank you, Pun!), which probably explains why The Album didn't sell enough copied to go gold. Christopher Rios doesn't spit in his trademarked lightning-quick way; instead, he kind of sings along to the track. You should both skip this track and feel bad for those closed-minded hip hop heads who judged Big Pun's role in our chosen genre based on this lone song.
5. TRIPLE THREAT
I should have warned you: the choruses are one of the biggest problems on The Album, and this track is no exception. So we have to look to the verses themselves to find anything enjoyable. Cuban Link provides the awesome line, "Fucking with this Latin Assassin / Better get ya head examined", which, if you happen to be Latino, should make you punch your chest in pride.
6. WAR
Do you have some chores to do? Kids to pick up? Homework? If so, this would be the time.
7. BRING IT ON
Once I realized that this was Fat Joe's solo, I questioned why I had to even listen to this. Then again, I'm writing a review of The Album; that doesn't necessarily mean that you need to suffer as I did.
8. AS THE WORLD TURNS (FEAT TONY SUNSHINE)
Wow, another "My life was hard, I lived in the ghetto, some of my friends died, and I sold crack" song. Hip hop really needs more of these. Cuban Link bends the concept on his ear by introducing the “I am an illegal” technique. Lucky for them, this is actually a good song, and Tony Sunshine (who would later become a full-fledged Terror Squad member after Pun's passing) helps out on what is the only track with a good hook. Triple Seis and Prospect both spit some good stuff. and they lived happily ever after.
9. GIMMIE DAT
Armageddon's solo. He's not without talent, and the beat isn't bad, but this just isn't that great of a song. And what was with the cheap gun sound effects? They sounded like slamming doors.
10. FEELIN' THIS
This was over four minutes of my life that I'll never get back. I've also noticed that all the guys in Terror Squad seem to feel comfortable talking about are guns. (Well, that, and running trains on promiscuous women.) I understand that rappers growing up these days didn't have the same kind of issues as the artists of olde, but these guys make gratuitous violence sound really boring.
11. ALL AROUND THE WORLD
Cuban Link's solo, and it sucks. Terrible chorus, awful instrumental, and when compared to his other contributions to The Album, he doesn't even have anything interesting to say.
12. TELL ME WHAT U WANT (FEAT TONY SUNSHINE)
Here's a great idea: placing one radio-friendly song for the ladies immediately after another radio-friendly song for the ladies. Bravo. At least Cuban Link regains my trust by dropping some nice bars and speaking a little Spanish for good measure.
13. RUDEBOY SALUTE (FEAT BUJU BANTON)
This could have been a great song, but unfortunately, Fat Joe exists. Also, I don't understand what the hell guest star Buju Banton is saying, but that's probably just because I don't follow reggae music much: he still contributes only positive things. Bug Punisher steals the show entirely, though. This song proves that simple beats can be effective. At the end, Fat Joe decides to adopt a Jamaican accent, which is a straight fail, although you won't be surprised when you realize that he has jumped on almost every single trend that hip hop has thrown at him throughout his career.
14. MY KINDA GIRLS (FEAT TONY SUNSHINE)
Somehow, Tony Sunshine received the equivalent of a solo track, even though he isn't in the group yet; as a concession, Cuban Link also pops up, but even he can't save you.
15. PAYIN' DUES (FEAT KEITH NUT)
After the tsunami of shit from the past few songs, we get...this. I feel annoyed, because the good songs were at the beginning of The Album, and Keith Nut puts the last ten tracks to shame with his first verse. Armageddon also sounds pretty good himself, but I feel this song is half an hour too late. Groan.
16. WWW.THATSMYSHIT.COM (FEAT THE BLEACH BROTHERS)
Criminally retarded name aside, this was a good song. Once again, the first verse is a killer, and the line "You little bitch / I have you screaming for real" comes out as smooth as a toothpick stuck into a cake just out of the oven. Oh, and Triple Seis appears on here, too.
FINAL THOUGHTS: If you've been reading my review of Terror Squad's The Album since the beginning, and not just looking for some discrete porn website link, you've noticed that my enthusiasm slowly died during the writing process. (Oh, and also, it's 4 in the morningas I'm writing this) I did double-check my work, and I still felt what were the few actual good songs, and while you cannot deny that these guys were (sometimes) more talented than the artists who were more popular at the time, the sad fact is that The Album is full of flaws. There is much more bad than good over here, and that description goes toward all of the participants equally, especially the late Big Punisher. (Side note: by re-reading this entire review (Thank you, third grade teacher!), I couldn't help but notice how often I say Cuban Link is the best thing on this track or that song, which makes me believe that you two will think that I am actually Cuban Link in disguise, or at least his significant other. I'm not. He really does sound good, and he's on my list of rappers who keep lyricism alive (or at least until he dropped his solo album), joining the likes of Chino XL & Immortal Technique as one of those Latin rappers who smack the shit (on wax) out of your favorite rapper, but are simply overlooked. (Back then, anyway; nowadays, all of the rappers I listed suck.))
BUY OR BURN?: Burn, unless you manage to find this in a flea market somewhere. Some of these tracks are worth listening to, but it isn't worth more than four bucks.
BEST TRACKS:"In For Life"; "Pass The Glock"; "As The World Turns"; "Rudeboy Salute"; "Payin' Dues"
-The Grinch
(Questions? Comments? Concerns? Leave your comments below.)
