(Today's
Reader Review finds Michael picking up my slack regarding the back
catalog of Queens crew Screwball. I still believe Y2K: The Album is
underrated, in that nobody ever bought it but everyone claims to
enjoy it, so it makes sense that the quartet would pop up at least
one more time on HHID. Leave some comments for Michael's review of
Screwball's second project Loyalty below.)
Screwball’s
Y2K: The Album is one of my favorite hip-hop albums ever released.
Not because it’s a mind-blowing artistic achievement or anything;
it just happens to sound really good to me (well, half of it, anyway).
Remembered fondly by politicians for hits such as “Who Shot Rudy?”
and “F.A.Y.B.A.N.”, Y2K: The Album was a triumph for Queensbridge
hip hop, as it built upon the successes of other QB natives like Nas
and Mobb Deep, while still sounding unique enough to create its own
niche in the hip-hop industry.
A
year later, the four-man group consisting of Blaq Poet, Hostyle,
Kyron, and KL (R.I.P.) decided to release a second album for the
hungry masses, which they titled Loyalty. Unfortunately, that title
turned out to be (possibly intentionally) ironic, as things for the
group got a bit out of hand. Hostyle, the group’s second-most
prolific member (behind Blaq Poet), wasn’t seeing eye-to-eye with
the rest of the group. Eager to create an identity for himself, one
independent from a group perspective, and wanting to build a
successful solo career, he isolated himself from the rest of the
members to focus on his own priorities, forcing the rest of the group
to find creative solutions. Because of Hostyle’s eventual absence,
Poet’s rise to quasi-stardom, and KL’s untimely passing, Loyalty
served as the last true release for the Queensbridge quartet.
So,
how does this album fare when compared to the monster that was Y2K:
The Album? Let us not waste any more time!
1.
THE INTRO
While
I rather liked the music hiding beneath the nonsense cheers and
boasts (“Two albums n---a, what!”), this was nothing more than a
useless rap album intro. I really wished they made an actual song
with this beat. Ugh.
2.
LIKE A GANGSTA (FEAT. MATRIX BARS)
I
think my main problem with Loyalty is that so many of the songs sound
incredibly generic. This happens to be one of those. While I don’t
expect anything from Screwball other than Queensbridge-repping and
rugged thug rhymes, I do expect them to do it in their own unique
way. This felt like a very by-the-numbers rap song. Yes, the beat was
somewhat amusing, but other than that, very forgettable.
3.
WHERE YOU AT (FEAT. NATURE)
Hey,
now this sounds good! Not-Cormega Nature, who
I have never given two shits about before I heard this song for the
first time, actually sounds pretty entertaining and genuinely jazzed
about working with his QB brethren. Godfather Don creates a smooth
and accessible beat, one which still manages to retain that trademark
Queens rawness. Each emcee flows over the track effortlessly, and
Hostyle sounds great on the hook: I actually think he makes otherwise
boring hooks sound fantastic (see: “Born Again” by Infamous
Mobb).
4.
LIVE AND LET DIE
That
same magic, however, is sadly absent from this effort. I’m so
indifferent about this track that it drives me absolutely crazy. The
beat, which is an admirable effort by Ayatollah, sounds too much like
something created by some random dude trying desperately to replicate
Mike Heron, the producer behind much of Y2K: The Album. And yes, I
know that I just praised Hostyle’s hook mastery, but he simply
can’t make it work on here. It’s just irritating, really.
5.
TORTURE (FEAT. M.O.P.)
Dream
collaboration? Yes. In reality however, this song is very
underwhelming. I kept expecting the instrumental to transform into
something much more grandiose and bombastic, but it ended up being
nothing more than a generic sounding loop. I guess I shouldn’t have
expected much from a producer named Stone. (Seriously? Stone?)
Billy Danze does manage to sound really fucking pumped, and as a
result, his verse was the only one I liked. I suppose the boring beat
made the rest of the guys sound boring as the track dragged on. I
tend to think of this song as a giant cock-tease, kind of like that
girl from high school that never put out even though you were always
there for her and...wait, what was I talking about again?
6.
CHECK THE RESUME (INTERLUDE)
Good
lord, stop wasting good samples on bullshit interludes and skits.
Just stop! Make an actual song! Please!
7.
WHEN THE SUN GOES DOWN
Ayatollah
provides a song that is so thumpitty-thump in nature that it makes my
stomach hurt. I usually like thumpitty-thumping beats, but something
about this one turned me the fuck off. Maybe it was the use of a
vocal sample that technically fits, but didn’t sound good in the
first place. I actually really liked this song upon my first listen,
but that was before the nausea kicked in. How very disappointing.
8.
TURN IT UP
Good
Lord. Yet another beat that sounds interesting at first, but quickly
mutates into irritating piffle. There is nothing more to say about
this song, except probably meh.
9.
I SPIT (FEAT. BLACK ATTACK)
Guest
rapper Black Attack sucks. But don't take my word for it: one spin of
this track and you'll see that he comes across as someone who thinks
he’s much better than he will ever be, and his verse managed to
piss me off due to its sheer mediocrity. What is even more
disquieting, though, is the lackadaisical bullshit that Hostyle tried
to pass off as a verse. Oh yeah, and this whole “generic-sounding
beats” thing is a serious problem for Loyalty. For God’s
Sake, I want to listen to Y2K: The Album again! Why can't I be doing
that instead?
10.
LOYALTY (FEAT. CORMEGA)
After
the five-song drought that made me want to club baby seals, we are
blessed with this absolute gem of a track. Cormega, who I regard as
the best rapper that no one really knows about, is undoubtedly the
standout performer: he even addresses his old spot in the supergroup
The Firm, which I thought was hilarious, since Nature (his
replacement in the group) appears on this same fucking album. KL then
goes to war against Hostyle, who apparently tried to “sabotage the
enterprise” (how dare he?). All in all, this was really good, even
though I found myself enjoying Cormega’s verse far more than
anybody else’s: part of me wishes that Mega had taken this beat and
done something with it all by himself. Side note: this beat was
originally intended for Y2K: The Album's “You Love to Hear the
Stories”, but was scrapped in favor of the Pete Rock-produced
version that actially made that project. I’m glad it found its way
onto this title track, as it seems to fit the overall theme like a
glove.
11.
REAL N----Z
As
opposed to those fake n----z, I suppose. Anyway, the late 1990’s
computerized blippy sound that punctuates every single bar on this
song sounds absolutely terrible. I actually quite liked the piano
sample that broods alongside the standard braggadocio lyrics from
Kyron, though. Still, I don’t understand why the lyrical quality
of this album is ten miles behind that of Y2K: The Album. You would
think that the members of Screwball would try to elevate their game
on the mic, but alas, this is not the case. As such, this turned out
to be yet another disappointing song which wriggled and suffocated
beneath its own potential.
12.
GORILLAS (FEAT. NOREAGA AND KOOL G. RAP)
This
song is a bit of an oddity. I really liked the beat, and although the
lyrics are a tad bit on the generic side, each emcee acquits
themselves nicely. I’ve never been much of a fan of Kool G. Rap,
but I do acknowledge his prowess behind the mic, and he's pretty good
on here. Noreaga sounds as good as he possibly can (which, please
note, is quite mediocre), and yet, overall, this song was technically
a triumph. So why don’t I like it? That’s a question I ask myself
quite frequently with this album. A lot of the songs on this CD are
so extraordinarily unremarkable that I can’t help but hate
them, not for being terrible but for squandering their potential.
13.
MY N----S
Hmm,
track eleven spelled “n----s” with a “z”, but it was spelled
with an “s” on here. Oh Screwball, you’re so silly! The chorus
on here borders on retardation and just sounds so...ugh. This is the
kind of song I would criticize if I was an old white Republican
living in my Florida retirement home. So with that being said, this
song is boring and kind of sucks. And no, Blaq Poet, I don’t want
to smell you.
14.
TOO HIGH, TOO HIGH (FEAT. TRAGEDY KHADAFI)
Tragedy’s
claim that rappers are “Similac’n” off his “shit” was
hilarious, but other than that, this was pretty dull. The energy
level of the track is certainly appreciated, but again, there’s
nothing outstanding about this at all. It suffers from the same
wannabe QB production style that “Live and Let Die” was plagued
with. Yes, I'm aware that Mike Heron produced this. It just seemed
like he tried too hard to recreate the QB authenticity, which is
something that should come naturally.
15.
STREET LIFE
The
Queensbridge harpsichord insanity on this song is just perfect,
however. I love everything about this song: this is exactly what I
was expecting when I bought Loyalty, with its incredibly grim and
bleak street tales complemented by flawless production.
Unfortunately, this song was a significant factor in the feud between
Hostyle and the rest of the group. “H-O-S-T-Y-L-E,” the lead
single for Y2K: The Album, was released much to the chagrin of Poet,
KL, and Kyron. They saw Hostyle’s willingness to parade himself in
an accessible and radio-friendly (sort of but not really) manner as a
betrayal. Hostyle’s eagerness to create his own identity and
fondness for self-preservation eventually led to the end of his ties
with Screwball, and this song (to me anyway) is the final farewell to
the soured relationship.
16.
THE BOOTH
Ugh.
We know what a skit is…
17.
THE BIO
There’s
nothing to say about this song that hasn’t been written about the
rest of the weak songs on this album. Pass.
18.
GOTTA BELIEVE (FEAT. COMPLEXTION)
Are
you fucking kidding me? No. No. No! One of the most
intriguing beats of the album is wasted on this R&B shitfest.
Just...bleh. Skip.
19.
SCREWED UP
It
was clever to end this album with a touch of nostalgia, seeing as
most of Loyalty was a humongous disappointment. This was the first
twelve-inch single released by the group all the way back in 1996.
The Beatnuts were kind enough to provide the great instrumental, and
it still sounds really fantastic and not at all out of place on this
album. It is sad that this track is better than most of the total
crap found on the rest of the CD, but such is life, I guess. Oh, the
album’s over? Yay?
FINAL
THOUGHTS: Loyalty is not a good album. In fact, I really fucking
hated it. The very long tracklist of songs, which by itself isn't
always a bad thing, include concepts and ideas so disgustingly
generic and formulaic that they make my head want to explode.
Screwball manages a handful of entertaining tracks, and “Street
Life” is the best song Hostyle will ever record, but it pains me to
say that this album should have never existed in the first place. The
fact that this was Screwball’s last album makes that last statement
even more heart-wrenching, as I really loved Y2K: The Album.
BUY
OR BURN? Buy ten copies of Y2K: The Album, but do not bother with
this travesty of an album. Burn the tracks below and be on with ya’.
BEST
TRACKS: “Street Life”; “Loyalty”; “Where You At?" ; “Screwed
Up”
- Michael
(Questions? Comments? Concerns?
Leave them below.)
"This is a good review that people should comment on." -Michael
ReplyDeleteI very much agree. Great review of a seemingly kinda bad album.
DeleteOut of respect to the reviewer i'll say the review itself was fine. I just did not care about this album being on the site at all.
ReplyDelete