My Gut Reaction: Pete Rock & Smif-N-Wessun - Monumental (June 28, 2011)

I'm still not a fan of that album artwork.  That image will replace the whale in my nightmares. 

There has been a rash of projects infiltrating our chosen genre lately that pair a single producer up with one or more artists.  These collaborative albums are considered to be "game-changing" and "historic", which is fucking riduculous, because this is exactly how hip hop used to sound back in the day: a rapper typically had the assistance of only one producer to help him or her get their point across.  Oh well, I suppose everything comes full circle.

Duck Down Records, home of the Boot Camp Clik, has been fortunate enough to unleash two entries into this category this year, both in the month of June.  Random Axe, the joint effort between Black Milk, Sean Price, and Guilty Simpson, dropped two weeks ago to stellar reviews and, predictably, really shitty sales, although one would hope that a certain Amazon link in the sidebar may help change that (hint, hint).  This week, they one-upped themselves by unleashing Monumental, a monster collaboration between original Boot Camp Clik members Smif-N-Wessun and a man that most of you two would consider to be one of the finest producers this game has ever generated, Pete Rock. 

Personally, I wasn't sure how a project from these two parties was supposed to even sound, as Pete Rock is more well-known for soulful samples and those fucking horns than he is for producing songs for the street audience.  Smif-N-Wessun also aren't typically brought up in conversation when heads discuss who Pete Rock should actually work with.  So Monumental was kind of surprising, although out-of-left-field arranged marriages such as this one aren't always a bad thing.

What worried me was the tracklisting.  I already knew that Pete Rock would be handling all of the instrumental work on here: if he didn't, I'm sure my readers would revolt.  But there seemed to be far too many guests on Monumental than there should have been, considering that the pairing of Peter with the Cocoa Brovaz was supposed to be the main draw.  I could get behind the promised cameos from Raekwon, Buckshot, and Sean Price; hell, I could even deal with Da Rockness Monsta, Styles P, and, um, Hurricane G (hey, Smif-N-Wessun have a proven history with her, so I can let that slide).  But Black Rob?  I get that he recently defected from Bad Boy Records to sign with Duck Down, but was this really the right time to bring him out?  And who the fuck thought it would be a good idea to feature motherfucking Memphis Bleek on a song that Pete fucking Rock produced?  Monumental seems to have gone from being an exciting (if questionable) pairing to a sadomasochistic tirade.  I'm intrigued, but not very thrilled, to be listening to this right now.

Hey, I have to be honest.

Unfortunately, the release of Monumental will always be marred for me by the stories released yesterday about the multiple incidents of police brutality that happened outside of the album's listening party held in New York City.  After the party was ordered to be shut down, one of Pete Rock's good friends was brutally beaten, and from what I understand, Louieville Sluggah (of the Originoo Gunn Clappaz) even had to go to the hospital due to injuries sustained in the one-sided melee that followed.  It sickens me to see police officers, drunk on power, exact their authority over a situation where there is no adversity to be found.  I even viewed a video someone took of the event, which clearly shows at least one man being attacked by a cop with a baton, who isn't fighting back.  I truly hope that this shit spurs a direct change in how people treat other people: there was truly no need for this shit to ever happen.

(Side note: I listened to the entirety of Monumental and wrote the rest of the review before reading about Tuesday night's incident.  I just felt that it deserved to be mentioned.)

1. INTRO

Yeah, that was a rap album intro, all right.

2. MONUMENTAL (FEAT. TYLER WOODS)

Hardly sounds as grand as its title would imply, but Pete's treat sneaks up on you in a subtle fashion, and soon enough, you'll notice your line of sight fluctuating as your head nods up and down. Both Tek and Steele, who sound much more reserved than I'm familiar with (possibly because neither man wanted to step on the toes of the certified legendary producer behind the boards), but they also sound much more lyrical than I recalled, so that was awesome. Peter's own verse (his first of two on Monumental) was decent enough, too. The chorus was both unnecessary and ass, but I've complained about hip hop hooks so often on this blog that the words don't even hold meaning anymore. Still, this track was alright overall. Not a bad start.

3. PREVAIL (FEAT. RAEKWON)

Smif-N-Wessun reunite with their “Black Trump” partner Raekwon the Chef for “Prevail”, and let me just say, sir or madam, that this shit was no “Black Trump”. The first verse, which Tek and Steele share over an unnaturally shitty Pete Rock composition, is so goddamn annoying that I wanted to throw this disc into the incinerator. However, once Raekwon appears for the second verse (after a rather dramatic entrance), the song suddenly turns into a banger, as Pete Rock, who was clearly bored of his own crappy beat, switches up the instrumental into one that will remind Wu stans of the final minutes of Raekwon's “Criminology”, which was, obviously, the point. When Tek and Steele reappear for the third verse, they are so inspired by the new musical backing that they seem to override the weak-ass first minute of this already-short song. It seems that Raekwon was not a part of the same studio sessions as Smif-N/or-Wesson, but that's a small price to pay for a song that is two-thirds fantastic.

4. THAT'S HARD (FEAT. STYLES P & SEAN PRICE)

This beat doesn't sound monumental either, but this song is what the title track should have been, made up of the verses of each artist and some scratching at the end, bullshit R&B chorus be damned. Smif-N-Wessun are joined by their Boot Camp Clik coworker Sean Price and, for some reason, Styles P of The Lox, and everyone turns in a good performance over the simple-yet-earwormy Pete Rock instrumental. Styles falters a bit, mainly because he's outside of his comfort zone, but he still sounds alright, as do our hosts, but the belle of the ball is clearly Sean Price, who destroys what is probably the most expensive beat he's ever been given in his entire career thus far. With this and Random Axe, the artist formerly known as Ruck is having one hell of a year.

5. TOP OF THE WORLD (FEAT. MEMPHIS BLEEK)

The first outright awful endeavor on Monumental, but it isn't because of the presence of motherfucking Memphis Bleek, although his verse, rather predictably, sucks cock. No, this song is garbage because Peter's beat is boring as fuck, and both Tek and Steele get lost in the shuffle with their inadequate bars and their crappy faux-optimistic chorus (on which Pete Rock also half-assedly contributes). Given the guest list, I should have seen this coming, but I'm still in shock as to just how far Monumental has fallen within the space of one nearly five-minute-long track. Wow, this was bad.

6. FEEL ME (FEAT. ROCK & BUN B)

After Rock (from Heltah Skeltah) provided a stellar verse on Random Axe's “Another One”, I was looking forward to his work on Monumental, and I walked away from this song feeling despondent. Pete Rock (no relation) lends a piano-driven beat that is pretty goddamn dull, and Da Rockness Monsta provides a horrible chorus that would be laughable if it weren't so fucking terrible. Luckily, he fares a little bit better with his verse, as fo Tek and Steele, who sound alright, if distracted. The weirdest part about this song is definitely the Bun B cameo: if you had told me a year ago that Bun B would someday work with Pete Rock on a song recorded with Smif-N-Wessun, I would have punched you in your lying whore mouth. But he's on here, and he sounds decent enough. Unfortunately, the entire track is too blah to keep my interest.

7. ROSES (FEAT. FREEWAY)

And the rash of random cameo selections pulled from a magician's top hat continues with Freeway, who, oddly, is restricted to hook duty only on this song, on which Tek and Steele suddenly get serious and talk about how important it is to tell someone how you feel about them before it's too late. Beardy sounds okay, but you keep half-hoping he'll spit a verse, and your wish is never granted. Pete's beat is mostly low-key percussion with some chanting thrown in for good measure: that is to say, it's pretty simple. The song itself wasn't bad, but I think we may be straying a bit too far from what people were actually expecting from the pairing of Pete Rock and Smif-N-Wessun.

8. FIRE

Well, this was a misguided attempt at a high concept: Tek and Steele both portray the devil on this track, happily corrupting a young soul who never seems to question why his version of Lucifer has two distinct voices commanding him to do his/their bidding. Peter's instrumental was okay enough, but it doesn't carry the heat required for a track about Hell. I give our other two hosts credit for switching things up with their subject matter, but there has to have been a better way to rap about this topic than how “Fire” turned out. Also, the chorus blows, but it's almost as though you don't even have to read that statement to know that, right?

9. THIS ONE (FEAT. TOP DOG, JAHDAN BLAKKAMOORE, & NOBLE SOCIETY)

Meh. That's right, I'm bringing it back out.

10. DO IT (FEAT. HURRICANE G)

The Cocoa Brovaz reunite with their perpetually annoying “Spanish Harlem” costar Hurricane G, with generally pleasing results. Pete Rock flips the Babe Ruth “The Mexican” sample differently than what the Theodore Unit used for their “'88 Freestyle”, while Tek channels Big Daddy Kane during his opening bars to this genial throwback. Smif-N-Wessun sound much better than their invited guest (obviously), but Gloria manages to not embarrass herself, causing the whole of Monumental to swing back in the right direction. This was just fun to listen to. Couldn't help but feel bad for Tony Touch, though.

11. NIGHT TIME (FEAT. BUCKSHOT)

The beat on here isn't anywhere near monumental, either, but this massive collaboration should have also been the title track. (Maybe someone should combine this with “That's Hard” for a sixth-grade level pastiche of a mash-up.) After a quick snippet of a Richard Pryor comedy bit (which was also used on the Twinz song “Sorry I Kept You”), Tek and Steele kick some chill rhymes over a relaxing instrumental, with both Pete Rock and Smif-N-Wessun's Duck Down Records label boss Buckshot (of Black Moon) bringing up the rear with some entertaining verses. The energy level just isn't there, but “Night Time” was still an enjoyable diversion that will make you wish that it was about four minutes longer and that it featured the rest of the Boot Camp Clik.

12. (I'M A) STAND UP GUY (FEAT. BLACK ROB)

Although I liked his debut, Life Story, it could be argued that guest star Black Rob is of even less consequence to the current state of hip hop than even Memphis Bleek. He makes his Duck Down Records debut (as he was recently signed by the collective for some ungodly reason) on here, contributing a horribly loquacious chorus and a decent-enough middle verse over some uncharacteristically street Pete Rock production, which sounds as though it was ghostwritten by Nashiem Myrick (of Puff Daddy's Hitmen fame). Tek and Steele do what they can, but the ingredients fail to blend together properly, and the song ends up tasting bland as a result.

13. GO OFF

I couldn't get into this shit, no matter how short it ended up being. Pete Rock's instrumental never adjusts itself, and both Tek and Steele sound ill-suited for it, making the entire track sound bad as a result. It is what it is.

14. TIME TO SAY

Monumental ends with Smif-N-Wessun's attempt at a semi-inspirational song, one where both Tek and Steele describe their struggles and how they won't let anyone get them down. Somehow, their plan of attack involves having Tek repeat the long-ass chorus multiple times throughout. This song was too numbing to have any sort of real impact on anybody, so while the effort is appreciated, the fact of the matter is that Monumental ends extremely poorly. Even having Pete Rock end the actual project with an outro that apes the project's intro doesn't help. Oh well.

THE LAST WORD: Monumental is ultimately disappointing, although I'm not sure why I felt let down by the project: I wasn't really expecting anything from the off-the-wall pairing of producer extraordinaire Pete Rock and street rap enthusiasts Smif-N-Wessun. Neither Tek nor Steele will ever earn any accolades for their skills behind the mic, but for the most part, they sound okay (except for on the final two tracks, anyway). I suppose my biggest problem with Monumental is with Pete Rock's work behind the boards, which is neither as bombastic as his past music has been, nor is it modified enough to suit his collaborators: in short, he sounds uninspired for much of the runtime. This leads to a fourteen-track album on which only a handful of songs are even worth actually listening to, and in this economy, that shit doesn't fly when an artist is hoping for his or her fans to pay full retail for their output. I'm loving this surge of producer/rapper collaborative projects, but it's sad that Monumental, the one with the highest pedigree (due to Pete Rock's involvement, obviously), is the one that sounds the most unnatural.

-Max

RELATED POSTS:

You can read more about Pete Rock here, and you can click here to catch up on Smif-N-Wessun.

The Lox - Money, Power, & Respect (January 13, 1998)

Most hip hop heads consider Puff Daddy's signing of the rap trio The Lox to be one of the most questionable moves in the history of our chosen genre, but that distinction refers to both sides of the transaction.  For the man who will forever be known as Puffy no matter how many times he changes his goddamn name, it stands out as an ill-advised attempt to market his newly-blingy Bad Boy Entertainment to a street audience, an adjustment that took over the sound of rap music on the radio for a short time in the late 1990s after the passing of its most popular artist, The Notorious B.I.G.  Puffy signing The Lox was the music business equivalent of hanging out with the skaters, the goths, and the burnouts in high school when you wore nothing but designer gear and never got into any trouble.  But The Lox aren't completely blameless, either: they couldn't possibly have believed that the hip hop audience would take them seriously after scoring a deal with the East Coast version of Satan.

The Lox consists of three rappers: Jason "Jadakiss" Phillips, David "Styles P" Styles, and Sean "Sheek Louch" Jacobs, all of whom hail from Yonkers, New York.  They formed as a crew in high school and have been rhyming off and on ever since.  They've undergone multiple name changes, for whatever reason, as well.  They were originally called The Bomb Squad, which was, obviously, already taken by Public Enemy's production team; shortly after, they called themselves The Dog Pack (under which name they scored their music debut, making a cameo appearance on the post-Large Professor Main Source album Fuck What You Think), and then The Warlocks, which was later shortened to The Lox, thereby setting the stage for Kanye West to get in a quick joke on his song "Touch The Sky".  They came of age with another Yonkers-based rapper by the name of DMX, who would later form the loose collective the Ruff Ryders, with the trio as inaugural members. 

Fellow Yonkers-based success story Mary J. Blige discovered The Lox and passed their demo tape to Sean "Puffy" Combs for unknown reasons: I assume she really hated what she heard.  Puffy apparently did not, though, so he quickly scooped them up and set about training the group in materialism and 1980s samples, which, to be fair, did not come naturally to the three, who grew up in the streets and, as such, felt an obligation to "keep it real".  They made guest appearances on albums from the late Notorious B.I.G., Ma$e, and Puffy himself, before they were allowed to record their debut project, Money, Power, & Respect, which dropped in early 1998.

Although Money, Power, & Respect sold more than one million units, Jadakiss, Styles, and Sheek all found themselves disenfranchised with Bad Boy Records and their general bullshittery.  They formed an movement that quickly spread across our chosen genre, forcing Puff Daddy to concede and release them from their contract (although not without continuing to earn royalties off of every fucking thing they recorded, Eazy E-style).  Today, Money, Power, & Respect represents little more than a footnote in the backstory of The Lox, whose individual members have all achieved varying degrees of success in hip hop, with Jadakiss being the most prolific, Styles P the most aggressive, and Sheek Louch sounding like a perpetual upstart waiting in the wings for his big break.

I'll end this intro by stating the following: I never cared much for Money, Power, & Respect.  When I purchased it back in 1998, I spun it a few times and promptly packed it away.  It just never captured my interest: hearing The Lox blended with Puffy's sound-of-the-moment was too jarring for me to find entertaining.  At least Ma$e fit Puffy's materialistic mold: the three members of The Warlocks always stuck out like sore thumbs on the Bad Boy roster.  It was not surprising that they soon wanted their freedom from the label; what shocked me are the recent news stories indicating that The Lox are seriously considering re-signing with Puff Daddy, as if suddenly he knows how to manage the careers of anybody but himself.

1. YONKERS TALE

At least this intro tries to set the appropriate mood. It isn't completely successful, but it's still better than Ma$e's intro on Harlem World, where Puff Daddy pretended to walk a mile in Mason Betha's shoes.

2. LIVIN' THE LIFE (FEAT. PUFF DADDY)

Aside from Puffy's intrusion, “Livin' The Life” actually follows up (somewhat) on the concepts introduced during the intro: The Lox derive their crime tales from their upbringing, and have an interesting eye for detail while doing it. All three rappers have distinctive styles: Jadakiss is the cocky con artist, Styles is the grizzled veteran, and Sheek is the loose cannon. As such, they are extremely easy to tell apart, a trait that doesn't apply to many rap crews these days. Younglord's production was a simplistic loop, but it wasn't a bad way to kick things off. In fact, I never cared for this song back in the day, but in listening to it today, I find it to be a decent introduction. There was still no reason for Puffy to force himself into the proceedings, though.

3. IF YOU THINK I'M JIGGY

The shiny-suit-wearing first single (if you don't count “We'll Always Love Big Poppa”, anyway) that sounds like the complete opposite of what The Lox allegedly stand for. Sheek, Styles, and Kiss all hit on chicks at the club over this Dame Grease production, but not very convincingly, as all three sound like they have better things to do. Puffy has also coerced Jadakiss into singing the chorus in the style of Rod Stewart's “If You Think I'm Sexy”, which no, I did not just make that up. Wow, when you see it written out like that, not only does it look like a poor business strategy, it also appears to be really fucking stupid. Anyway, I've always liked Styles P.'s contribution, as he shows his progressive side when he tells us, “Regardless who she fucked, I'm the n---a she deserves”, but then abandons that facade with the admission that “Sheek don't like her, had a dream where he shot her”. This wasn't as terrible as it should be, but it also isn't very good: I prefer the remix that The Neptunes were commissioned for, since at least Pharrell and Chad abandon the Rod Stewart concept-jacking in favor of actual club spins, and does so successfully.

4. THE INTERVIEW, PT. 1 (INTERLUDE)

Skit...

5. MONEY, POWER, & RESPECT (FEAT. LIL' KIM & DMX)

The second single, which sounds dramatic enough without Little Kimberly's chorus, thank you very much. DMX's guest spot serves a dual purpose: not only was he hip hop's reigning cameo king back in 1998 (hell, I bet there were rap albums back then where a DMX appearance was contractually obligated before the label would agree to release it to stores, he popped up that fucking often), he was also the starting quarterback of the Ruff Ryders camp, a crew that also counted his Yonkers homeboys The Lox within its ranks, so this could be considered a family posse cut. (Kim appears mainly because Puff Daddy threw her into the mix: after the passing of The Notorious B.I.G., he never could get rid of her.) While the overall effort is alright (this sounds very dated today, but I remember liking it back in 1998), The Lox are actually the worst aspects of the track, as they all sound relatively bored: when X steps into the booth and steals the show with an energetic verse, it's a welcome diversion. Sigh.

6. GET THIS $ (FEAT. PUFF DADDY)

Erase all of the materialistic vocals and J Dub's beat sounds like a parody of The Ummah's work on A Tribe Called Quest's Beats, Rhymes, & Life. Kiss shows his loyalty to his current employer, who provides chorus duty on here, but he ends up sounding like he's sucking the Bad Boy cock during his verse (“Bad Boy, 'Hits 'R Us'”? The fuck?). Everything about this song was fairly awful. Moving on...

7. LET'S START LOVE OVER (FEAT. CARL THOMAS)

This was actually the third single from Money, Power, & Respect (promotional CDs were even pressed and shipped to radio stations), but no video was ever released (to my knowledge). My assumption is that Puffy was simply trying to promote his newest vocalist, Carl Thomas, but his contribution is merely passable. The artists formerly known as the Warlocks tackle their fond memories in rhyming fashion, making sure to complain about the state of hip hop today, which grows tiresome with the knowledge of how much worse our chosen genre is today. Puffy even inserts himself into the third verse, as if he has ever had anything important to say. Consider this bullet dodged, Lox, as a video for this shit could have been potentially damaging to your careers.

8. MAD RAPPER (INTERLUDE)

Even when misspelled, he still isn't funny.

9. I WANNA THANK YOU (FEAT. KELLY PRICE)

Nashiem Myrick's beat isn't anywhere close to what you would want to hear street thugs such as The Lox perform over, but I still liked its low-key, smoky vibe, and Kelly Price's vocals on the hook suit it well. To their credit, Jada, Styles, and Sheek all try to adapt the best they can, but this sounds like Puffy was trying to water them down, turning the trio into three Ma$es (who, interestingly enough, fails to make a guest appearance on Money, Power, & Respect). Decent, but instantly forgettable.

10. GOIN' BE SOME SHIT

Finally, The Lox (well, Sheek, anyway, as this is a solo effort) take the offensive when discussing the state of hip hop and the backlash they saw when they signed with Bad Boy Entertainment. Sheek's dissecting of emcees who don't write their own rhymes is doubly hilarious if you imagine Puffy being in the studio when he recorded those lines. This has always been one of my favorite songs on Money, Power, & Respect, even if Jadakiss and Styles are missed. This was the first example of just how much harder Sheek Louch has to try to reach the same lyrical level that his friends are already at.

11. THE HEIST, PT. 1

Kiss and Styles act out a bank robbery gone horribly wrong over a beat that manages to sound both dramatic and ridiculous, thanks to the shuffling drums that are better suited for Bad Boy's club hits. The attention to detail is fucking spot-on, though, which makes this tale really good. I imagine Sheek was still at home with his baseball glove, wondering where his older brothers were, as they promised to play catch with him that afternoon.

12. NOT TO BE FUCKED WITH

A very boring Styles solo effort (with Jadakiss rambling on the chorus as though he made that shit up as he went along). The Puffy-slash-Dame Grease beat barely qualifies as “music”, and over the course of his two verses, Styles P. fails to impress the idea into the listener's mind that he is capable of fucking with the ominously named “them” in the hook. This was a misfire all around.

13. THE SET UP (INTERLUDE)

Skit...

14. BITCHES FROM EASTWICK

The three members of The Lox weave a tale about female con artists (the titular “bitches”) who get their comeuppance (sort of) at the hands of Styles P. D-Dot and Chucky Thompson's beat is too low-key for anybody to actually get into the story, but the three verses do their best to paint the picture, even if Sheek claims that a female acquaintance named Cindy's favorite television show is Mork & Mindy just to hit the rhyme. That took me out of the entire experience: nobody's favorite show is Mork & Mindy.

15. CAN'T STOP, WON'T STOP (FEAT. PUFF DADDY)

No, seriously, please stop. For the love of fuck, please stop.

16. ALL FOR THE LOVE

Because his partners in rhyme have already presented their solo efforts, Jadakiss (also known as the first of the trio to release a solo album) submits his for the audience's approval, but the end result sounds hollow, not unlike most rap music these days. Swizz Beatz substitutes spacey sound effects for whimsy, and Kiss sounds not entirely confident of his surroundings, but he gives it his best shot anyway. Skip.

17. SO RIGHT (FEAT. KELLY PRICE)

Puffy's fingerprints are all over this pop-friendly production, and the three members of The Lox make a hilarious attempt at fitting in, but this just isn't their world. It's not that anybody on here sounds awful or anything, nor is it that Kiss, Styles, and Sheek fail to adapt to their surroundings: no, the shiny suits in the closet were so bright that the reflective light burned away their capacity for reason. That's the only reason I can come up with that explains why “So Right” is on a Lox album and not, say, No Way Out.

18. THE SNITCH (INTERLUDE)

…

19. EVERYBODDY WANNA RAT

Did I miss the Christmas season where all of the children were demanding rats from their shopping-weary parents? Thought so.

20. THE INTERVIEW, PT. 2 (INTERLUDE)

Skit...

21. WE'LL ALWAYS LOVE BIG POPPA

Although in theory, The Lox hadn't been signed to Bad Boy long enough to cultivate much of a relationship with the late Notorious B.I.G., they still manage a loving homage to the man many consider to be one of the greatest rappers in history. (You'll note that Pastor Mase never paid his respects to the man in song form. Hmm...) It's kind of difficult to critique a song such as this, so I'll just say that tacking it on to the end of Money, Power, & Respect (after it had already appeared on the We'll Always Love Big Poppa maxi-single) was kind of weird, but I guess it solved the issue of how to end an album that was in danger of crashing into a brick wall of complacency. (Besides, Puffy put his “I'll Be Missing You”, also from that same mini-album, onto No Way Out, so there is some precedent here.)

FINAL THOUGHTS: The Lox's Money, Power, & Respect aims for the middle ground between The Notorious B.I.G.'s drug dealing theatrics and Ma$e's pop leanings (which were all a product of Puffy's imagination anyway), and ends up disappointing both audiences. The radio-friendly efforts all sound completely foreign to Jadakiss, Styles, and Sheek, who are all game enough to play along (to their credit), but tracks such as “If You Think I'm Jiggy” and “So Right” have the adverse effect of making their actual street songs sound less authentic, too. All three emcees are decent enough (they all have room for improvement, which is how you're supposed to sound on a debut album), and they fare much better as a cohesive unit than when they are singled out on Money, Power, & Respect, but Puff Daddy, with his focus on business before music, failed to include anything entertaining on here. As such, the album is difficult to listen to today: never have the individual topics of money, power, and respect come across as so goddamn unappealing.

BUY OR BURN? Burn this if you absolutely have to. Bad Boy's salad days had already come and gone at this point, and seeing Puffy grasp at straws to continue his run is embarrassing at best. I actually give The Lox a pass on here, because they clearly had no input on the overall direction of Money, Power, & Respect, but my goodwill only extends to one more project by this collective that hasn't fully realized its potential.

BEST TRACKS: “Goin' Be Some Shit”; “The Heist Part 1”

-Max

Erick Sermon - Double Or Nothing (November 7, 1995)

If No Pressure was Erick Sermon's bid to prove that he was the sampling wizard behind EPMD, then his sophomore effort, Double Or Nothing, with its title's clever nod to his rap alter-ego E Double, was his take on revisionist history.  Aided by his Def Squad brethren Redman and Keith Murray, along with a few folks who recorded cameos and then promptly vanished off of the face of the motherfucking Earth, Erick Sermon attempted to retool his persona, altering it from a sample-heavy behemoth to that of a funk lord.  And he probably would have pulled it off, too, if it wasn't for those meddling kids.

Double Or Nothing was Sermon's second solo album on Def Jam, but when you look at just how much of a departure it is from the sound of No Pressure, you'd be forgiven if you mistakenly believed it to be his twelfth.  No longer satisfied with occupying one-fourth of EPMD's group name, Erick Sermon wanted to take over the galaxy of hip hop, and he decided that the best way of accomplishing that goal was to appeal to as many people as humanely possible.  Double Or Nothing contains salvos created specifically for radio stations, hip hop heads, fans of street tales, stoners, and pretty much every other major demographic, although, curiously, "fans of EPMD" were left crying into their pillows.

Double Or Nothing is one of those albums that nobody seems to have any real feelings about, whether they be positive or negative.  It's complete lack of anything offensive makes it relatively easy to forget that it even existed: aside from the existence of one track (which you'll read about in a bit), I even believed Sermon's discography somehow skipped from No Pressure into the EPMD reunion record Back In Business (which I'll get to at a later date).  The project's only two singles were radio mainstays around my way, but they would never be considered anybody's favorite anything: quick, tell me what those two singles were and what they sounded like.  Without cheating.  You can't do it.  And if you can, if you could please explain to me why your Erick Sermon fan club never sent me the t-shirt and bumper sticker I sent away for back in 1996, I'd greatly appreciate it.

And so.

1. INTRO (SKIT)

One minute into Double Or Nothing and I'm already bored out of my mind.

2. BOMDIGI

I guess it makes sense that the first real song on Double Or Nothing is also its first single: what better way to inform the listener that this project will sound nothing like EPMD's past work? Sermon's instrumental eschews the sample-heavy style (although not entirely abandoning it) he and Parrish Smith perfected in favor of a party groove built around a Mary Jane Girls sound bite (taken from “All Night Long”), and his first two verses display a rapper-slash-producer who is eager to please. So “Bomdigi” sounded pleasant enough...until the third verse, which I had apparently blocked out of my mind grapes: desperate to prove himself to any new fans who would have inexplicably picked up this album, E Double starts name-dropping the titles of songs he produced for Redman's Dare Iz A Darkside. A lame-ass way to end an otherwise decent track.

3. FREAK OUT (FEAT. REDMAN)

Redman's Dr. Trevis character introduces this track, which sounds like a refugee from the Dare Iz A Darkside sessions, but that's alright, I suppose, since Reggie Noble appears alongside our host, destroying the man lyrically in a fairly embarrassing fashion. Redman was still in his pre-Muddy Waters days, so the vocal resemblance to the Green-Eyed Bandit is more than a little bit obvious, but he still sounds pretty good over this beat, which is the traditional funky musical housing he resides in when not high as fuck. Sermon sounds fucking ridiculous, though: it almost brings a tear to my eye to see the student surpass the teacher so goddamn effortlessly. Moving on...

4. IN THE HEAT (FEAT. ?)

Our host tackles a storytelling rap that grows increasingly violent as the relatively banging instrumental moves forward, suggesting that he has officially gone crazy because of the heatwave he is apparently suffering through right now. The presence of an uncredited guest artist whose name I cannot place right now is iffy and unnecessary, but Sermon refuses to let him take over, electing to spit out his threats mostly for dolo. I have to admit, I was legitimately disturbed when he threatened to strip his opponent nude and pistol-whip them, but I guess I shouldn't have been that surprised: this is the same guy who bragged about shooting a sheriff, after all.

5. TELL 'EM (FEAT. KEITH MURRAY & ROZ)

This dark and melodic track is a step in the right direction. Over an instrumental that I'm fairly certain was also used for a Sprite campaign scheduled before Double Or Nothing's release, Sermon teams up with fellow Def Squad member Keith Murray (who sounds in his zone, which is to say that he sounds terrific) and Redman's sister Roz to deliver a quick track that has no need for, nor any room for, bullshit padding, although they still manage to squeeze in a short hook. This spacey declaration of rap dominance is what I had hoped this album would have sounded like in its entirety back when I picked it up back in 1995. Oh well, at least it still holds up today.

6. IN THE STUDIO (SKIT) (FEAT. ?)

Not so much a skit as it is a quick and useless one-verse wonder from an anonymous female rapper who fails to receive a credit in the liner notes. It's nice that Erick was feeling charitable, but this was unnecessary.

7. BOY MEETS WORLD

The Green-Eyed Bandit relays his frustration with juggling homework and newly-acquired adult responsibilities while trying to keep his oddly-named girlfriend Topanga both happy and sexually satisfied. Although that isn't really what this song is about, at least my explanation makes sense: as Erick Sermon is not a “boy”, and he is a seasoned veteran at this point, he wouldn't have been new to the “world” when he recorded this track. I can only assume that he was watching ABC's TGIF comedy lineup one Friday evening while baked, and he thought “Boy Meets World” sounded like as good a song title as any. The instrumental was pretty bland, and Sermon doesn't sound invested in the action, so it's probably best that you skip this track...now.

8. WELCOME (FEAT. AARON HALL & KEITH MURRAY)

I believe this was the other single from Double Or Nothing, and it received a decent amount of airplay, so at least the otherwise superfluous Aaron Hall guest vocal on the chorus didn't go to waste. Sermon sounds alright, too, having completed his transition from rhyming over sample-heavy beats exclusively to also being able to tackle spacey funk (producer Rockwilder, turning in a performance that is far removed from what would make him inexplicably popular later on, plays a pretty big role in how smooth E Double actually comes across on here), and while Keith Murray hardly registers on here, his brief vocal still complements the track nicely. This held up much better than “Bomdigi”, anyway.

9. LIVE IN THE BACKYARD (SKIT)

Apparently, one of the running themes on Double Or Nothing is including a skit that actually doubles as a bonus song (as opposed to your typical rap album interludes, which rear their ugly heads on the back half of this project) while still running in the direction of “pointless”. Here, Erick Sermon attempts to give listeners a quick blues-y obstacle to leap over before they can finally get to “Set It Off”. And I'll say this: my Lord can this man not sing.

10. SET IT OFF (FEAT. KEITH MURRAY)

Perhaps as a sneak preview of his future work on Muddy Waters (which is Redman's most well-rounded album, for my money), Erick Sermon presents listeners with a calm instrumental that is manipulated just enough to sound menacing. Which is appropriate, as “Set It Off” is basically E Double's way of explaining that he has no plans on leaving the rap game anytime soon. (Back in 1995, this was a welcome statement: in 2011, though, I think we should all get together and perform an intervention, stealing away his booked studio time and donating it to an artist in need.) Keith Murray's presence on here is even more questionable than it was on “Welcome”: was there really a reason to have him shout random shit toward the end of the track, when his admirable skills could have been put to better use by having him order takeout? Was there really no better way for you to have ended this track, Sermon?

11. FOCUS

Erick sticks with his King Of The Mountain theme, but takes on the position of an elder statesman (which he is) who represents old school New York rap while dismissing the West Coast entirely (and then immediately taking that statement back by coming up with some bullshit about how rappers who pretend that they've actually shot people have no place in hip hop). Bet you didn't expect to hear any barbs aimed at the West Coast on an Erick Sermon project, did you? That's probably why E Double has gone out of his way to work with the likes of Xzibit, Eazy-E, Too $hort, and DJ Quik afterward: this way, he could be the rap equivalent of the racist white man who claims he can't be racist because he knows black people. However mixed the message is, though, Sermon's warning against artists who refuse to actually work at their craft is still enjoyable enough today.

12. MOVE ON (FEAT. PASSION & REDMAN)

Sermon seems to believe that the flavor of this track is “sour cream and onion”: I don't think he knows how songs actually work. However, he smartly gives Reggie Noble the first verse, which absolves him of most sins. The beat may not be especially tasty, but it still sounded alright, and Redman's energy behind the mic elevates E Double's own verse. Filling the obvious Keith Murray slot is female rapper Passion, who pledges her allegiance to the Def Squad but was unceremoniously erased from that crew's history after working alongside their intern, Jamal (of Illegal “fame”). As she sounds like a lost member of the Dealdy Venoms, she doesn't really fit into these proceedings anyway, but the song was still okay otherwise.

13. SMOOTH THOUGHT (SKIT)

More offensive than most hip hop skits tend to be.

14. DO YOUR THING

This alternate-universe take on “Welcome” was boring as fuck. That's all I got.

15. MAN ABOVE (FEAT. JAZZE PHA)

That's probably not what I would have titled a song that talks about getting some friends together at your house as an excuse to fuck all of their friends. Then again, I'm not one-half of EPMD. Sermon stays away from the graphically incestuous descriptions he provided on No Pressure: this time around, he simply seems amazed that there are so many women in the world who are willing to sleep with a guy who is a successful recording artist. Surprise guest star Jazze Pha, in one of his earliest appearances, provides the hook, which apes a couple of bars from Snoop Dogg's “Gin & Juice”, which seems lazy, but it's really hard to be mad at a song that is this laid-back about casual hookups. Not bad, sir.

16. THE MESSAGE (SKIT) (FEAT. TONE CAPONE)

Tone Capone makes a quick appearance to represent a crew that he has nothing to do with today. What was the point of this, exactly?

17. OPEN FIRE (FEAT. KEITH MURRAY & REDMAN)

Double Or Nothing ends with a show of solidarity from the Def Squad, as both Reggie Noble and Keith Murray join up with E Double for a quick posse cut. The beat was pleasant enough, and it contrasted nicely with both the aggressive title and the combative nature of the participants, but it isn't all good: Sermon is the weakest player of the three. Curiously, he includes empty space between the verses ostensibly built for choruses that were never written, choosing instead to fill in the blanks with random bullshit intended to help the listener transition between artists. Murray sounds a bit too awkward, as he attempts to fit more syllables into a single bar than has ever been attempted before, but unlike Redman, whose career began with a flow that aped that of our host, Keith Murray sounds exactly the same on “Open Fire” as he does today. Which should mean something, but it doesn't.

FINAL THOUGHTS: Erick Sermon's Double Or Nothing is successful in that it helps our host move beyond the EPMD sound of old, as we get to hear the incarnation of the minimalist moody funk that has punctuated his work ever since, but it fails in that it's mostly dull. The music misses far more than it hits, which makes it sound like a dusty relic I discovered at the Smithsonian, and Sermon's rhymes leave a lot to be desired. The tracks on which his braggadocio is curbed in order to fit more artists into the booth tend to be more interesting, as he proves that he is, in fact, able to shut the hell up when the occasion calls for it, but he rides by himself more often than not, and without, say, a Parrish Smith-type to bounce his ideas off of, he throws too many punches that don't connect (especially his coded bards aimed at PMD, which aren't very effective). Only a handful of these songs sound remotely relevant today, but that's alright: every artist has a meh period. That doesn't mean you have to suffer through it today, though.

BUY OR BURN? Burn this shit. Too many of the songs lack focus (except, funnily enough, “Focus”), and E Double's over-reliance on dumb fucking interludes and his incessant need to talk himself up will make you long for the glory days of EPMD, where he did the exact same shit, but sounded better doing it.

BEST TRACKS: “Tell 'Em”; “Focus”; “Man Above”

-Max

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Catch up on Erick Sermon's catalog by clicking here.

Two Reader Gut Reactions: Vast Aire - Ox 2010: A Street Odyssey (May 31, 2011)

(Today's Reader Review is another double-shot of Gut Reactions, as both Theo Mac and Keeshawn voice their thoughts on Vast Aire's latest, Ox 2010: A Street Odyssey. Although you would think that I would just try to get contributors to work together at this point in the blog's life, this write-up is, once again, actually two separate submissions I received at the same time, edited into one semi-coherent discussion. Let me know what you think, and be sure to give Theo Mac and Keeshawn some notes.)

Theo Mac: Almost exactly ten years ago, when Asperger syndrome sufferer Theodore “Vast Aire” Arrington paired up with mumbling fellow New York rapper/pal Vordul Megallah to form the duo Cannibal Ox and, with assistance behind the boards by acclaimed underground rapper/producer El-P, released their debut The Cold Vein, he probably knew exactly how good it was. He probably knew that “The F-Word” was one of the greatest hip hop love songs ever written, that ,“If there’s crack in the basement / crackheads stand adjacent” really was quite a good couplet to introduce himself with, and he probably knew what he did to El-P’s beats on “Stress Rap” and “Real Earth” would normally result in a long-term prison sentence in many Western countries (and yet not be too highly frowned upon in the Middle East). You wouldn’t be alone in declaring The Cold Vein the best hip-hop album of the last decade, and if you were to go a step further and place it amongst the greatest of all time, you would undoubtedly find yourself in less company, but not be entirely lonely. Vast Aire would be with you, in all likelihood. He and Vordul worked so unbelievably well together, the court jester and the earnest subject, appealing to a king (El-P, I guess?) whose apocalyptic kingdom is frighteningly shaken by mutant elephant stampedes and sporadic laser gunshots. So, assuming Theodore knew and believed all of this, and that he enjoyed the beautifully chaotic and disturbed kingdom of Cannibal Ox, why the fuck did he choose to pursue a solo career?

I posed that question as an outlet for my frustration, regarding the trio’s inability to release a sequel to their phenomenal debut album. Maybe I shouldn’t be so concerned: a sophomore effort might have actually detracted from the original's potency. Either way, I don’t intend to explore Can Ox’s squabbles in particular detail. I could ask Vast Aire, but, frankly, I’m afraid of his Internet persona. The short version of the story is that Vordul Mega got depressed, and then Vast and El-P had a falling-out (a quick Internet search would give you invaluable insight into the mind of Vast Aire, which could go some way to explaining the group's supposed “creative differences”). If anybody comments on this review, God forbid, in an incoherent stream of anger, threats, and abuse, caps locked punched down, it’s likely to be Vast Aire. Basically, he’s an extremely volatile character, who needs to take a second to reflect and inhale a long blunt-free breath. and grow up (see: his beef with Cage). But all geniuses are somewhat crazy, right? All things considered, Ernest Hemingway thought the FBI were trying to kill him, Vladimir Lenin holidayed in Siberia of all places, and John Lennon once called himself a walrus. Maybe we should make allowances for a man capable of blessing a microphone seventy times in one second, a man who addresses his Christmas list to God rather than Santa. Shouldn’t we?

Look Mom…No Hands came in 2004 as his first solo shot, and it was alright. Four years later, Deuces Wild was a surprise, and to this day remains underrated, although fans of The Cold Vein were set to be disappointed.  True, there was a collaboration with Vordul Mega included, but even having rap legend Pete Rock on the beat was anticlimactic when compared to the mighty El-P: the sound was a definite departure, like it or not. Now comes along Ox 2010: A Street Odyssey, in the year 2011 (deal with it), and with the assistance of a giant hint in the album title, Vast Aire attempts to return to Cannibal Ox’s sulfur dioxide-thundercloud, bare-light-bulb roots.

That at least sounds exciting, but is the album any good? Do any of the imitation beats do justice to the impeccable originals? Has Vast Aire become refined and wise in old age, or have the toxic fumes and baseball bat blunts made him much stupider? What about the metaphors, the obscure TV references, the audacious boasts: do they still work? Is it like a Cannibal Ox album? Wait around and you’ll see.

Keeshawn: It seems like ages since we were all blessed with the undeniable classic that is Cannibal Ox's The Cold Vein. That’s mainly because, well, it has been: it’s been an entire decade since Cannibal Ox’s debut (and, to date, only) album was released. (Feel old yet?) I mention The Cold Vein because it is impossible to talk about Vast Aire’s back catalog without mentioning said album. Since that album came out, everything the man has touched has been compared to who he was when he was partnered with Vordul Mega. He’s been cursed with dropping a classic album as his debut, and has tried to live up to the hype since then.

It’s not as though the man has put out garbage albums since The Cold Vein, though. His previous albums, Look Mom… No Hands and Deuces Wild, were well-received by many hip hop heads. The man hasn’t fallen off, but he hasn’t exactly cemented himself onto the list of top rappers of all time, either.

Fast forward to today, when Vast Aire brings us what he calls Ox 2010: A Street Odyssey. As ridiculous as the album cover is, it truly does describe the feel of this album, as he goes for the spacey vibe of a Cannibal Ox album, which I guess is exactly what a regular Cannibal Ox album would sound like. Speaking of Cannibal Ox, he uses the duo's legendary name as a part of his album title to remind listeners that he was once responsible for dropping a classic album.

Anyway, shall we?

1. INTRO: OX 2010


T: Vast ensures that his introduction enforces the overarching, extraterrestrial, outer space theme of his third solo album, but no one would ever want to listen to this more than once. The computer voice interaction simply sounds silly in his thick New York accent.

K: The weird thing about this track is that Vast Aire is arguing with a rebellious robot. The funny thing about it is that I found this intro to be hilarious. I find myself quoting bits of this often. You’ll enjoy it if you don’t take it too seriously.

2. NOMAD


T: Vast drawls over a futuristic soundscape, managing to sound both hungry and unenthusiastic. Although the beat, reminiscent of The Cold Vein, isn't on par with, say, “Ox Out The Cage”, it’s still hard, and fans of Vast Aire’s poetic, lackadaisical flow shouldn’t hold too many grudges. He is quick to establish why many (including me) find his work so entertaining, by saying, “I rhyme outside the mold”, before philosophically declaring, “The idea is the infinite road / this means my thoughts have no abode”, which sounds fantastic. The hook will become less shitty over time as well, I promise.

K: After that unique intro, we’re hit with the first song on the album, and it’s a monster. The beat hits you hard, and Vast wastes no time getting into it. No bouncy beat, no poppy hook, no shitty lyrics, just straight, raw hip hop. As usual, the man spits a ridiculous amount of quotable lines, and makes sure to suck you in to this album by throwing a haymaker on the first punch. This is a great way to start off the album.

3. ALMIGHTY JOSE (FEAT. KARNIEGE)


T: The beat isn’t particularly interesting, but it compliments Vast’s hook well, which is a clever dismissal of empty threats. Unfortunately, the guest rapper’s opening two bars will be amongst the worst you’ve ever heard. Vast then takes over, and essentially says nothing of any coherence. I’m inclined to forgive our host here, seeing that he’s one of my favourites, but I'm warning you now: this will probably become a frustrating theme throughout for any first-time listeners.

K: Those keys! I’m a sucker for beats that incorporate piano keys. We hear the first guest appearance on the album, and to be honest, I feel like his sole purpose on the song was to get completely outshined by Vast.

4. THE MAN OF STEEL


T: An engaging beat, put in the hands of a mind like an XBOX 720 connected with a Playstation 4 makes for a good combination. This is still nothing to get overly excited about, though.

K: Those horns! I’m a sucker for beats that incorporate horns. The production so far on these past three tracks have been top-notch. Vast Aire makes the most of it by absolutely demolishing the beat with his hilarious, yet clever lyrics. Three songs into the album, and Vast Aire is apparently on a mission to prove that he still has it in him.

5. I DON’T CARE (FEAT. CAPPADONNA) 


T: Here, we get picked up by our favourite gypsy cab driver, who doesn’t drop the listener off in the middle of fire, but, rather, drives appallingly, swerving in different lanes, running red lights and not slowing down for schoolchildren crossing the road. However, Cappa’s disregard for traffic regulations and pedestrian safety does not detract from Kount Fif’s fourth successive and successful beat, which feels like an improvised game of soccer on a sun-soaked Brazilian beach. Vast Aire’s first and third verses are much more (but still not entirely) focussed, sticking to the familiar topic of New York life. He gets a bit clever towards the end as well, "Real Earth" style, declaring himself to be “big / on the piano at FAO Schwartz”.

K: Wow. I thought the horns on the last song were impressive, but the ones that factor on here hit you even harder. Vast is still on his shit by delivering those lyrics. It’s been a while since I’ve heard verses as quotable as this man’s. Cappadonna does his part by delivering a verse that is just as energetic as the beat. Speaking of Cappa, the man’s been on a pretty nice streak lately. This Wu/Ox collaboration was an extremely entertaining listen.

6. 2090 (SO GRIMEY) (FEAT. DOUBLE A.B.)


T: Things go a bit wrong. All good hip-hop fans should be forgiving towards their chosen genre’s hooks, after all that’s not what we really care about, but under no circumstances should they ever have to be reminded of the fucking Black Eyed Peas. The beat is an emphatic, more commercial The Cold Vein experience, but it’s quite boring. This is the first major misjudgment from Vast Aire.

K: Well, it couldn’t last forever. It’s not that this song has a bad beat or terrible lyrics: in fact, the beat is pretty entertaining, and the lyrics from both Vast and Double A.B. are incredibly well written. But the hook hurts the song a lot. Other than that, though, it’s a good track.

7. PHENOM


T: Kount Fif’s departure from the last two tracks is disappointing, especially when it is Harry Fraud that has filled in for him, a producer whose two contributions have been like pink spaceships aimed at an outer galaxy, failing to even take off. Vast’s hook, lifted from his impressive first verse on the impressive first track of his impressive last album, actually works. However, the newly recorded material (i.e., his verses) sounds uninspired by Fraud’s instrumental: basically, he knows it’s total shit. I hope for both of their sakes that there was no awkward eye contact in the booth.

K: Terrible hook number two. This is the first skipabble track on Ox 2010: A Street Odyssey so far. Pretty bland beat, and Vast sounds like he’s affected by it in a most terrible way.

8. HOROSCOPE


T: I’ll happily concede the beat on here sounds unbelievably cheesy, but Vast’s evident excitement and animated performance actually salvages the song. One of the more focused efforts on the album, although he still trails off at will: “Everybody with an asshole thinks they can rap now” is a good and valid point, but one that’s entirely irrelevant to Vast’s romantic endeavours. This isn’t a song for everyone, and definitely not for the purists, but Vast Aire really exemplifies what many like about him on here: “Maybe she’s perfect / that’s what it seems / maybe she’s born with it / maybe it’s Maybelline!” It’s impossible to dislike his playfulness and whimsical consumerist references, and the man sounds inspired enough here to have the listener rooting for his conquest, even if they might not want to actually imagine him fucking.

K: This song is pretty difficult to review, as the beat sounds like something taken straight from the soundtrack for the original Sonic the Hedgehog, but Vast doesn’t give a fuck, proceeding to tear shit up anyway. He starts off by spitting some raw lyrics, but soon switches to rapping some pretty sweet lyrics about a significant other, with some humorous punch lines thrown in for fun. Yes, that description sounds incredibly cheesy, but it’s something you have to hear instead of just simply read about. This song is something I kept going back to many times, oddly enough. If that isn’t enough, there’s scratches of moaning from a woman that has most likely been sampled from porn. Sounds dirty on paper, but when heard in the song, it actually sounds natural and pure. A pretty weird way to get the album back on track, but it is what it is.

9. THE CANNON OF SAMUS (FEAT. KENYATTAH BLACK)

T: Listening to this beat feels like being dragged through a pitch-black forest by Darth Vader, who then dumps you headfirst in a damp pile of leaves and sexually assaults you. I still need to work out if I enjoy the stiff robotic penis, but until then, it's fair to just say that the beat is grimy. So, at least Vast has now delivered on a previously unfulfilled promise. The guest rapper is interesting as well: Hitler is sometimes tastelessly referenced in hip-hop, but we definitely don't hear enough about Mussolini.

K: If that last song was too sappy for you, then this song will get you back on course. This is some pretty dark, gritty, atmospheric stuff, and I fucking love it. I’ve never heard of Kenyattah Black, but the guy makes a pretty great first impression. I’d be interested in hearing more of his stuff. Vast doesn’t disappoint either, but was beat out by his guest. Overall, though, this shit is bonkers.

10. DARK MATTER (FEAT. SPACE)

T: The Raekwon “Rainy Dayz” sample works nicely with the hook, and Vast's detached flow sounds quite good over the spacey beat. Of course if this was a Cannibal Ox track, it would be considered weak, but this far into the album, it is time to appreciate and respect that this is Vast Aire, the solo package. This was a decent track.

K: This song is in no way bad, but something was missing. Maybe it’s the beat, maybe it’s the song‘s topic, or maybe it’s the wordy hook, but it felt incomplete. The Raekwon sample was some pretty nice foreshadowing, though.

11. MERRY GO ROUND

T: Unfortunately, there's a bit too much going on with the beat, even if Vast Aire sounds good and, for once, there's a recognisable direction in the track. It's also too long, and the hook is not good enough to warrant such hefty repetition.

K: It may seem that the album was going to go in a downward direction again, but then we’re hit with this song. Vast absolutely diminishes this ridiculous beat. Everything about this song is an absolute yes in my book. You’ll find yourself going back to this song numerous times. This shit is good.

12. THOR'S HAMMER (FEAT. RAEKWON & VORDUL MEGA)

T: We should probably establish this now before anybody gets hurt: my favourite hip hop album of all time is Raekwon's Only Built 4 Cuban Linx... Next up it's OutKast's Aquemini and ATLiens, and then The Cold Vein. (Liquid Swords, Dah Shinin’ and A Long Hot Summer come after.) So with three of the artists involved in my top five appearing, there was no way I could ever outright dislike this track.  Luckily, I didn't: Raekwon growling over the dark beat and ominous vocal sample sounds wonderful, and I like how both his and Vast's verses start identically, giving us the glimmer of hope that the two may have even recorded together in the same studio. Vordul Mega definitely didn't, as he sounds completely disconnected from the song, but when he jumps on third, it still sounds cool. This song was very good. And I refuse to believe that nobody else gulped when the distant vocal sample from “Atom” touchingly faded in and out between verses. There you go, El-P: you’ve made your mark, even if Vast now considers you to be a fake emo thug with a pink t-shirt on.

K: Being an absolute Wu-head, this was the song I was looking forward to the most. I was not disappointed: in fact, it is probably the best song on the album. Everything about this song screams out Wu-Tang to me. The beat, the rhymes, everything. Raekwon absolutely destroys this song with his verse, so much so that not even Vast was able to provide a proper follow-up. To my surprise, though, Vordul Mega walks away with this track. Something about hearing Vordul rap alongside Vast just feels right. By far the most enjoyable song on the album.

13. SPY VS. SPY

T: Quite a good beat, and Vast flows well enough, but by now, you’re either sick of his inability to stick to a singular topic, or you’ve embraced this more-than-ever evident feature of his rhyming as a James Joyce/Ghostface Killah stream-of-consciousness style narrative.

K: Vast refuses to let his fans down by providing what is one of the best one-two-three knockouts on a hip hop album. Once again, the beat sets a great playground for Vast Aire to completely go bonkers on. This part of the album shows Vast at his absolute best.

14. THE VERDICT (FEAT. GUILTY SIMPSON)

T: Guilty Simpson is quite a good rapper, despite his last album, consisting of one hundred and forty-four skits, being a huge letdown. Over this Ayatollah production, he’s actually outshined by Vast Aire, although the beat, which would have fit Roc Marciano like a snug glove, feels too slow for either participant. This collaboration was still relatively enjoyable, though.

K: After the last three songs, this song seems a bit underwhelming. The beat seems sub-par compared to the last three, but when you finish hearing the song, and realize how skillfully Guilty and Vast rip this song apart, you’ll look past that. These last four songs do a great job of setting you up for what is the final song on the album.

15. BATTLE OF THE PLANETS (FEAT. GENESIS OF LXG)

T: Over a truly majestic production that I’m sure El-P would be proud to put his name to, Vast Aire chooses to dis fellow former Def Jux rapper Cage. The beef was fresh at the time this track was recorded, but two years later, you have to question why a shit is still given. As evident from his YouTube, MySpace and Facebook comments (perils of modern technology and all that), we are not dealing with a particularly rational human being (my favourite is Vast telling a fan to “GET THE FUCK OFF MY PAGE U FAKE FAN” for mentioning he enjoys El-P’s work as well as Vast’s). Furthermore, it is Cage who is being attacked, which is a bit like Jeru the Damaja taking on The Fugees all over again. Vast’s first verse is disappointing, but then his pal Genesis takes over, rhyming “bust they ass” with “mustard gas” and generally just sounding quite good. Things pick up in Vast’s last verse, as he finally wakes up and actually becomes funny: the line, “He doesn’t even know his own gender / he’s usually the one on the bottom, playing pretender”, was particularly amusing. The “Scream Phoenix” homage in the instrumental, chorus and actual album placement of the track was moving, pointing us even more towards the fact that Vast is reflecting on his Cannibal Ox days, but it is a shame that the lyrical energy of these two was wasted on addressing stale and petty beef, rather than an elevated bird metaphor or something. With some refinement and self-awareness, this could have been a wonderful song. Having said that, since this originally came out in 2009, it’s seen multiple plays on my iPod, because the beat is just phenomenal, and two of the three verses, albeit pointless, manage to be entertaining. So it must be half-good.

K: This was the absolute perfect way of ending the album. The beat has a triumphant feel to it. It feels as if Vast used this song to let out any remaining lyrics worth mentioning. This song is everywhere in terms of having a subject: going from him stating how minimal you are compared to him, to bragging about how badass he is, to even throwing out a few disses at his old label owner, Cage. And the song is all the better for it. His guest does a great job of keeping up with Vast, and provides some memorable lines of his own. We even get an old nostalgic feeling with Vast screaming out “Scream Phoenix”, reminding us of his Cold Vein days. There is absolutely no way this album could’ve possible ended on a higher note. This is a fucking win.

THE LAST WORD:

T: And that’s it. Vast Aire revisits The Cold Vein with Ox 2010: A Street Odyssey, and has some degree of success. Whilst few songs are very exciting, few are below par; however, anybody expecting another “A B-Boy’s Alpha” or “Scream Phoenix” is frankly deluded. Vast has a good ear for beats, which are generally not the problem here: instead, he is. Rarely straying from the familiar territory of “this is why I’m hot, this is why you’re not, your girl is my girl, etc.”, he no longer has that appealing sense of quirkiness and peculiarity to his work: it is all very predictable. However, much to Vast Aire’s credit, he sounds just as hungry and determined as he did ten years ago, and on the occasions when he doesn’t, it would probably be reasonable and fair to blame the narcotics. I'm not wishing to patronise: this enthusiasm is admirable for somebody whose career is unlikely to have turned out as they planned, and the energy is impressive, especially when much of it must have been used up scouring the Internet for criticism, and responding to every negative comment, message and tweet in angry capital letters. Ox 2010: A Street Odyssey, although lacking focus and direction at times, is all the better for the evident passion Vast Aire has for hip hop. True fans like myself are still able to appreciate the generic areas Vast persistently addresses, as long as he is attacking them with his inimitable flow and trademark sense of humour, which is done here. Even if you don’t, the album still contains enough flashes of brilliance and a high enough calibre of beats to warrant a purchase. I liked it, anyhow.

K: With Ox 2010: A Streey Odyssey, Vast Aire pulled an entertaining-as-hell album out of his ass. I see myself listening to this consistently. As of now, this is the best album I’ve heard thus far in 2011. Heck, this is probably Vast Aire’s best offering since The Cold Vein. Everything from the beats, the verses, the guest appearances, the flow, and overall vibe of the album is great. Even the less interesting songs on this album still sound good enough to flow with the rest of the project. If Vast Aire doesn’t make it onto some sort of top album list at the end of the year, I’ll be surprised. The sad thing is, it seems that nobody actually knows about this album. Do yourself a favor, and look this one up. It’s different, fun, thought provoking, and funny. This is an absolute yes in my book. Vast Aire did it.

-Theo Mac & Keeshawn

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