Dr.
Martin Luther King Jr. once said, “The ultimate measure of a man is
not where he stands in moments of comfort and convenience, but where
he stands at times of challenge and controversy.” My use of that
quote was unintentional: the fact that it is attached to a review
that is running so close to the holiday named after the man is just a
happy coincidence. But I believe that message certainly applies to
the subject of today's post, Ryan “Royce da 5'9”” Montgomery,
who has certainly seen his share of both challenge and comfort.
Ryan
has been forced to reinvent himself time and again in order to
appease the hip hop gods. The Detroit-based emcee first began life
as an associate of Marshal “Eminem” Mathers, and had the good
fortune to still be tight with him when Em's career took the fuck
off. While this was supposed to lead to bigger and better things
(Royce was one of the only guests to appear on Eminem's major label
debut, 1999's The Slim Shady LP), he hit a roadblock otherwise known
as “his mouth”: Ryan was first in line for ghostwriting duties on
what was going to be Em's mentor Dr. Dre's comeback album 2001
(technically still called Chronic 2000 at that time), but he blabbed
about his role to the press, which hurt Dre's feelings, and he was
immediately fired off of the project. A major falling out with
Marshall himself soon followed, leaving Ryan alone within the music
industry.
Luckily,
Royce had already secured a record deal with Columbia during the
golden years, and he attempted to release his debut to capitalize on
his earlier buzz, garnered through his singles from Game Recordings
(the label probably best known for the Hip Hop Honeys series of DVDs
that I'm sure some of you two are, um, more than a little bit
acquainted with) and some earlier tracks with Marshall himself
(recording under the duo Bad Meets Evil). That album, Rock City, was
bootlegged to high heaven, and Ryan's attempt at a revision, entitled
Rock City 2.0, hit store shelves far too late for anyone to give an
actual shit, so he soon lost that deal, too. A relationship with
Koch Records, then best known for signing the artists that literally
nobody else would, resulted in his follow-up, Death Is Certain,
recorded under a haze of alcohol and depression; while this also
failed to ignite the charts and resulted in him losing that deal,
too, it was met with critical acclaim and is seen by many (this
critic included) as the man's finest work. But that's not good
enough an ending for this tale, so Royce had to go the independent
route and fail miserably there, too, and, somewhat unrelated, he fell
out with Eminem's group D-12, resulting in multiple dis attacks
(although none of this was aimed in Eminem's direction, oddly) and an
eventual one-year prison sentence for a DUI.
Upon
his release in 2007, he tried to remain in the public consciousness,
releasing mixtape after mixtape and quietly ghostwriting for the
likes of Puff Daddy. He also reconciled with D-12, even managing to
go on tour with them for a short period of time. This got him by,
but it wasn't until he was invited to appear on fellow underground
stalwart Joe Budden's “Slaughterhouse”, alongside Crooked I,
Joell Ortiz, and Nino Bless, that his luck would change for the
better. Empowered by their shared history of major label duplicity,
low sales figures, and reams of respect within hip hop that didn't
translate financially, Ryan, Crooked, Joell, and Budden formed the
supergroup Slaughterhouse, named after the song they all appeared on,
and began recording together. (Nino Bless apparently wasn't invited
to any of these sessions, and when approached, his manager wouldn't
let him step away from the fryer long enough to respond to
questions.)
Slaughterhouse
began taking the blogs by storm, unleashing track after track of some
of the finest shit-talking of recent memory. (It helps that these
guys were legitimately angry at their collective past experiences
with the music industry: Royce had finally found some kindred spirits
who had also been fucked over multiple times.) Eventually, their
work (and their debut group project, the simply-titled
Slaughterhouse, released through E1, which was formerly known as
(gasp!) Koch Records) caught the ears of major labels, ironically
enough, who had decided that now was the time to cut a deal with
these four guys who had previously earned their respective shots and
fumbled all of them (although it wasn't always the artist's fault,
especially in the case of Crooked I). The quartet eventually landed
at Shady Records, run by (gasp!) Eminem, and now have a major label's
deep pockets funding their every move. Circle of life and all that
shit.
Royce's fourth solo album, Street Hop, released through a joint venture between
Ryan's own imprint M.I.C Records (which stands for “Make It Count”)
and indie label One, came after the Slaughterhouse invasion, landing
on store shelves a few months after the group's debut. It was
preceded by The Revival EP, a quickie designed to whet the appetites
of potential customers: all four tracks that appeared on that EP
(which I apparently reviewed quite a long time ago – I do like my
short-as-hell albums) are featured on Street Hop as well, albeit with
a slight alteration in the case of one of the songs (I'll get to that
in a second). Executive-produced by DJ Premier, a frequent
collaborator, Street Hop was Royce's attempt to finally reach the
heights that he had been promised a decade prior. After a series of
false starts (this album was originally announced in 2006) and that
aforementioned prison sentence that resulted in one of many delays
for the project, it was eventually met with critical acclaim and low
sales figures that, while not great, didn't entirely suck, thereby
proving to Ryan Montgomery that he was on the right path, and he just
needed ten years of trial and error in order to appreciate it more
when it actually happened for him.
Now
some of you two may remember that I've already run a Reader Review of
Street Hop way back in 2010. My rules for submissions have not
changed: I still don't accept reviews for albums I've already written
about. One of my more recent changes was that I also don't plan on
visiting every single project that I've received a Reader Review for.
I don't plan on making this a regular thing, but I've been sitting
on my Street Hop review for over a full year and just now decided
that I may as well let it loose, even though I'm not entirely
satisfied with the actual writing. Better to let it go and move on
than hold it back forever, I suppose; how else was I ever supposed to
get to Success Is Certain? (Actually, the question you should be asking yourself is, "So how many other reviews are you holding back because you're not satisfied with them?" Not that you'll get an immediate answer, but...)
Also,
how weird is it that three out of four Slaughterhouse members can at
least partially trace their poor major label experiences with Dr.
Dre, the man who runs the label Shady is an affiliate of? Joe Budden
may like to complain about his former boss Jay-Z, but Joell, Crooked,
and Royce all got screwed over in some fashion by Andre Young
(Crooked I probably the least so, given the time he was actually
signed to Death Row Records, but still). And now they all help Dre
make even more money. Who saw that coming? Raise your hands so that
I can point out all of the liars out there.
1.
GUN HARMONIZING (FEAT. CROOKED I)
Street Hop kicks off with the same track that initiated The Revival EP,
annoying-ass “hook” and all (whoever told Ryan that it was a good
idea for him to literally spit into the microphone, making ridiculous
gunshot noises as though he were guest-starring on an episode of
Spaced, needs to be smacked in the back of the head, and also, I realize I wrote almost the exact same comment the first time around, but fuck it), except this new
and improved (relatively speaking) version features a guest verse
from fellow Slaughterhouse butcher Crooked I. The actual verses
sound alright, but, once
again, the “hook” is fucking terrible. Not even Crooked I can
elevate this kind of material. Moving on...
2.
COUNT FOR NOTHING
The same song that appeared on the previous EP. However, I don't remember catching that reference to Mortal Kombat's Noob Saibot before, so that was kind of funny.
3.
SOLDIER (FEAT. KID VISHIS & IYANA DEAN)
The
first all-new song on Street Hop is hit-and-miss. The actual verses
from Royce and his boy Kid Vishis (who sounds like the poor man's
Sheek Louch) are alright, and the Frequency instrumental builds to a
ridiculously catchy degree. However, the chorus is fucking awful: I
have no idea what our host was aiming for when he greenlighted a hook
that sounds like it was lifted from a piss-poor Destiny's Child
tribute band, but whatever it was, he failed. Also, the gimmick
played out at the beginning of each verse, where both Ryan and his
guest begin their stanzas but then quickly re-do them, is annoying as
hell, especially since you, the listener, are given the impression
that they're making mistakes that should have been left on the
cutting-room floor. Groan.
4.
SOMETHING 2 RIDE 2 (FEAT. PHONTE)
I
can't be the only person out there that honestly could give a fuck
whether Phonte (formerly of North Carolina-based group Little
Brother) ever worked with DJ Premier, but it happened anyway. The
first of three Primo productions on Street Hop actually does sound
like something to ride to (in fact, it's a little too on the nose,
but that could just be me), with our host delivering three boastful
verses as only he can. Phonte is actually wasted on a chorus that
could have been easily been handled by absolutely anyone else, up to
and including an Auto-Tuned Speak 'N Spell and/or a singing piranha
with asthma. But anyway.
5.
DINNERTIME (FEAT. BUSTA RHYMES)
The
combination of Ryan and Busta Rhymes is as natural as peanut butter
and lawn gnomes; Busta even refers to our host by his full proper
Christian name at the very beginning, which is indicative of the fact
that he had no goddamn clude who Royce was before arriving at the
studio, and the words fall off of Trevor's tongue like awkward
anchors into a shallow sea. But “Dinnertime” is notable for
something other than it being an uncomfortable first date: Royce goes
in over the catchy Quincy Tones instrumental, while Busta Rhymes sounds pretty
fucking bad. Since one of Busta's special moves is acclimating to
whatever instrumental he's provided, his poor performance on here
was shocking. Maybe it was an off day, or maybe his blood sugar was
just low: he does mention that everyone around him looks like
hamburgers and/or frankfurters. Anywho...
6.
FAR AWAY
Starts
off kind of goofy, as Royce starts singing a love song for the ladies
(who probably wouldn't be listening to Street Hop in the first place,
let's be real here), catches himself, and then begins the real song,
all over the same Emile beat that isn't bad, but would have actually fit
better for the love rap. Ryan's abuse of Auto-Tune is slightly
charming but entirely unnecessary: if anything, his hook dates this
track terribly. And its short running time only allows Royce to
squeeze in two verses, both of which don't sound quite up to the
standard of his best, or even his average, work. Sigh.
7.
THE WARRIORS (FEAT. SLAUGHTERHOUSE)
The same track as featured on the previous EP.
8.
...A BRIEF INTERMISSION (SKIT)
…
9.
NEW MONEY
Starts
off with an Ad-Rock vocal sample (from the Beastie Boys classic “The
New Style”) and then repeats a sound bite from said sample all
throughout the hook in the most annoying way possible. StreetRunner's beat is
energetic, but Ryan isn't the man for it: his attempts at clever
rhymes are overruled by the sheer volume of the instrumental, making
this entire track sound like the “New Money” that he's trying to
avoid associating with. Or something. This sucked regardless.
10.
SHAKE THIS
The
centerpiece of Street Hop occurs, appropriately enough, at the
halfway mark. Over a powerful Primo beat (one that alternates
between loud and soft, depending on how aggressive Ryan sounds), our
host described his life, shaking his demons and insecurities, and
having to deal with the consequences of his actions. Royce sounds
fucking reinvigorated, justifying how it is that he's still in our
chosen genre when everyone else had counted him out long ago. This
is probably going to be the best song on Street Hop (even with the last bar of the second verse, which could be interpreted as misplaced homophobia but is really just a quick way for Ryan to detail his fear of his then-current situation, although, sure, he could have taken it a different way), and Primo's beat doesn't fail him by an inch. A
mini-masterpiece. No, seriously.
11.
GANGSTA (FEAT. TRICK TRICK)
Having
Motor City stalwart Trick Trick bookend Ryan's verses on this track
was a goofy idea, especially as he doesn't even contribute a rhyme,
but you know what? I enjoyed how goofy “Gangsta” was. It isn't
as though Royce recorded this song with his tongue placed firmly
within his cheek or anything, but his verses are pretty funny (“If
you a rapper I'ma dis your ass / Then get mad at you for getting mad
at me” - that line explains away almost all of today's rap beefs),
and I'm pretty sure he even included an allusion to both Kanye West's
“Stronger” and Daft Punk's “Harder, Better, Faster, Stronger”,
so a round of applause for that. The Raf Moses beat sounded pretty good, even
with the corny vocal sample repeating the title, a vocal sample I
found myself looking forward to hearing more and more as the track
wore on. Huh.
12.
MINE IN THIZ (FEAT. MR. PORTER)
If
radio ever wanted to play a Royce da 5'9” song that wasn't Bad
Meets Evil's horrible “Lighters”, they could do a lot worse than
this catchy Mr. Porter production (over which the rapper formerly known as D-12's Kon Artis also provides a contagious hook), which features three (well, really
two-and-a-half) silly Ryan verses full of shit-talking and praise for
his genitalia, which I just realized makes “Mine In Thiz” sound
like every other Royce song, at least on paper. This is a pretty
good one, though, if one can look past the attempted club-readiness
of it all.
13.
STREET HOP 2010
The final holdover from the EP.
14.
THING FOR YOUR GIRLFRIEND (FEAT. K-YOUNG)
Wastes
away the first forty-five seconds of the track on a bizarrely unfunny
skit that only remotely ties into the song...and then wastes another
minute and twenty-five seconds on guest crooner K-Young's performance
before Ryan sees fit to actually earn his paycheck by swooping in and
stealing your girl for a quick roll in the proverbial hay. This is a
rap album, after all, so sex raps and rhymes threatening to take your
girlfriend are par for the course, but they're oftentimes done much
more skillfully than this plodding shit (which doubles back to the
theme of the skit at one point, which, contrary to popular belief,
does not make the interlude retroactively relevant).
15.
ON THE RUN
Ryan's
storytelling rap is quite good, even though the skits that bookend
the actual music are overlong and, in the case of the intro, oddly
specific. But our host is a natural at this,
using the two verses allotted to fill the void that he feels after
fleeing a murder scene. The ending is left ambiguous purposefully,
and Royce caps the song with a moral that actually makes sense, which
makes this song a winner. It then leads directly into...
16.
MURDER
...this
next track, which is purportedly a chronicle of the events that led
to Ryan running to the motel in the first place. He kind-of touched
on this during “On The Run”, but it's laid out more explicitly,
if abstractly, on “Murder”: this tale can be interpreted as a
metaphoric warning aimed at all other rappers who go into Detroit and
disrespect the city. (Trick Trick would be proud.) Ryan twists
audience expectations, though, as “Murder” isn't a straight
homicide tale: there's also an underlying current of paranoia and
dread in Royce's voice, as he believes (correctly) that his boy is
setting him up. Which makes the ending to “On The Run” much less ambiguous, by the way. The song then ends with our host walking
into the motel from the previous track. A terrific one-two punch
from a natural storyteller who really should do this kind of thing
more often: playing around with the timeline only causes the tale to
seem that much more compelling.
17.
BAD BOY (FEAT. JUNGLE ROCK JR.)
Since
Ryan keeps bragging about his association with Puff Daddy throughout
Street Hop, I was half-expecting “Bad Boy” to be an
homage-slash-commentary on his new BFF's record label. Which this
song actually is, if and only if you pretend Royce is Shyne and guest
crooner Jungle Rock Jr. is Barrington Levy. That was not intended to be a fair
comparison, by the way: this song is awful. Clearly Ryan got sick
and tired of being respected in this here rap game and decided that
adopting a faux-Jamaician accent would be the quickest and most efficient way to kill off his own career. And you know what? He was
right.
18.
PART OF ME
Ryan
adapts his storytelling flow into a wannabe love rap told from the
perspective of all parties involved. Interesting as a curiosity
piece, but the execution lacks the energy needed to keep the audience
hooked to the narrative. I will give the man credit for completing
subverting the meaning of the opening bars for the surprise ending,
though: at least someone's trying to be clever.
19.
HOOD LOVE (FEAT. BUN B & JOELL ORTIZ)
The
worst of the three Primo beats on Street Hop does feature the most
talented guest stars of the three, so that's something. Ryan and Bun
B spit just as well as two people who have already used DJ Premier's
instrumentals to do their bidding would, and Ryan's Slaughterhouse
partner Joell Ortiz closes things out in a relatively uninteresting
fashion (to be fair, he doesn't receive nearly the same amount of
screen time as his cohorts on here). What a weird way to end an
album.
20.
I'M FRESH (FEAT. MR. PORTER)
Sounds
like old-school hip hop and new-school rap fought it out in the
streets in the middle of the summer and vomited from dehydration, the
expectorants mixing together to form “I'm Fresh”. And somehow
that last sentence is intended to be a mild compliment: Royce rides
the Mr. Porter beat and soars over the fenced that represent hip hop's
barriers, all while Porter lays down so many samples that this
track probably would have cost over seventy bazillion dollars to
clear if someone were paying closer attention.
21.
IT'S ALL ABOUT (FEAT. GRAFH)
The Ski Beatz, um, beat was fairly bland, and the participants fall right in line with
the blandness, as neither Ryan nor guest star Grafh stir up enough
emotion to make anybody stand up and take notice. Royce's hook was
also annoying, specifically the stutter effect that made me want to
shut off the goddamn album. Our host comes in with a good-natured
jab at Slaughterhouse coworker Crooked I, though: I had completely
forgotten about the tattoo fiasco. So at least that was funny. But
the rest of this song can easily get skipped.
Wikipedia
is a bit confusing, in that it lists a third bonus track on the
iTunes deluxe edition of Street Hop, even though iTunes itself has no
such record of this appearing on their version of the album. In the
interest of being thorough, I tracked down the next (and final) song
and wrote about it. Would you like to read more?
22.
MY OWN PLANET (FEAT. BIG SEAN)
Ryan
snagging a Big Sean guest cameo before the dude blew the fuck up and
appeared on everyone else's projects should make our host seem
psychic or something, but in reality Sean hails from Motown just like
our host, so the pairing isn't all that farfetched. Would this same
collaboration happen today, though? Probably not. Especially not
over this boring-ass Kon Artis beat. However, the song itself isn't all bad:
Big Sean doesn't embarrass himself, and Royce's two verses are
actually pretty good (although a bit goofy, the line “I'm on Saturn
when you don't matter” (italics mine) sounds pretty cool). And
with that, we're (finally) done.
THE
LAST WORD: Although overstuffed with more than its fair share of
filler, Street Hop is the first solo project since Death Is Certain
to actually showcase Royce da 5'9”'s talent (I'm not counting that
Bad Meets Evil project from 2011, although that also went a long way
toward proving that he was still a force to be reckoned with). Over
nineteen tracks (or twenty-one if you sprung for the deluxe
edition), Ryan's shit-talking, vague threats, concise observations,
and references to his dick are at once exhilarating and exhausting,
relying on the various instrumentals to propel them forward, a tactic
that only works about a third of the time (although the beats help propel his storytelling on "On The Run" and "Murder", which counts for something). Aside from the obligatory
appearances from various Slaughterhouse members, most of the cameos
on Street Hop are uninspired (even the ones from Royce's own merry
band of weed carriers) and should have been fine-tuned before Ryan
and DJ Premier allowed this to finally see the light of day.
Speaking of Primo, he easily turns in the most entertaining tracks of
the project: one shudders to think how this might have sounded had it
been fully produced by Primo as originally rumored. Street Hop isn't
deserving of its manufacturer's suggested retail price in full, but
if you come across it for cheap, you should pick up a copy. I
wouldn't bother with any of the bonus tracks, though: they were left
off of the proper album because none of them really fit. If you're
strapped for time, though, you can snag “Shake This” off of
iTunes and keep it moving, I guess.
-Max
RELATED
POSTS:
There's
some more on Royce to be found by clicking here.
Album is worth an illegal download.but yeh go get shake this if iTunes .
ReplyDeleteI thought you'd recommend a burn if generous as you completely slammed the album for the most part
ReplyDeleteBy "pick it up for cheap", I mean two or three dollars. It's not a cohesive project, but there are some entertaining tracks thrown into the mix.
Deletebig bear doin thangs
ReplyDeleteIt won't happen, but I love that this request keeps popping up. Best album art ever.
DeleteGo Wikipedia! yay!
Deletehave you ever heard the spaceghostpurrp song take dat dick its hilarious
ReplyDeleteOnly Royce album I don't own. Can't say I'm all that motivated to check it out.
ReplyDeleteAgreed.
ReplyDeleteGood review, Max - I disagree with you on Gun Harmonizing, though. I love Royce's hook, it's ridiculous and funny and unique and him. Reminded me of The Bar Exam 2 shit.
ReplyDeleteBy the way, I usually skip the lengthy bio on these reviews. You could probably cut them. They're only necessary for the first album you review from an artist. This is like the fourth Royce solo you've reviewed - I think you've already recapped his life story a couple times.
Glad you decided to unleash this review on the world! Patiently waiting for the rest of those LL Cool J reviews. The past ones have been some of the most entertaining reviews you've done, in my eyes
ReplyDeleteWe'll see.
DeleteDid anybody else get a version of this on which the sound quality was virtually unlistenable? My CD from years back was the most poorly mastered album I've ever heard.
ReplyDeleteI came across this comment because I was re-visiting this album and you are right, the CD version was terrible. For some reason you're better of checking the iTunes version, it has a completely different mastering. Still not great but not as unlistenable as the cd.
Deleteshake this is dope and i like the beat on something 2 ride to also and the way you described the beat was perfect haha. review eXquire's Kismet I know you want to
ReplyDeleteNice review.
ReplyDelete'Shake This' is a great song. Like 'Security' from his recent album, Royce is good when he gets personal and gritty. Like you, I also wish he did more storytelling stuff, because he's good with the punchlines but he's got enough skill to pull off concept tracks.
I disagree with the 7th anonymous above about the intro stuff - I think it puts the album in context, and I like hearing views on the artist that aren't limited to the songs on the particular album. The intro bit is my favourite part of the review.
So you enjoy Max retelling the same story over and over again, on every Royce album review? To each his own.
DeleteHey, one person reads the intros! Sweet!
DeleteStep Brothers - Lord Steppington. The first hip hop release of the year
ReplyDeleteThere are probably many mixtape rappers and underground artists who would disagree, I'm sure.
DeleteThanks for posting this Max, whether you did it because of my previous Royce Da 5'9 request on the intermission or because he's one of your favourite rappers or you finishing what you're starting theme or whatever. Royce can fucking spit, there's no question to that. But I was disappointed with this album, because aside from when he occasionally shows sparks of cleverness and brilliance, most of the songs on here is just piffle. And see, the problem with Slaughterhouse is that they have yet to define a 'sound' of their own. Producers seem to get lost in what type of beats they want because the team don't know themselves. It's no secret that Slaughterhouse is capable of ripping shit, however I'm not impressed at all by the selection of beats they choose to rhyme over, or the type of songs they make. Chris Martin executively produced this, and it sounds like shit. Eminem executively Just Blaze will executively produce Slaughterhouse's third album, it's probably still gonna sound like shit. Eminem does the same on the second album, he fucks up. You can throw any producers name at these boys and they will all be underwhelming records made. What I DO recommend, however, is the slaughterhouse funkmaster flex freestyles, they all especially Royce body that shit.
ReplyDeleteI'm not thrilled about the Just Blaze executive-producer thing either, but he's heavily informed by EDM now, so who knows how that might go?
DeleteI have to disagree, I think Just Blaze can do wonders for them, and Shady Records is finally taking the hint that they don't need to cater to the mainstream as people will buy stuff with Em's rapping immediately.
DeleteYou, sir, are off your fucking rocker.
ReplyDelete"Hood Love" is a fucking classic!!! As per usual with Royce & Primo.
Slaughterhouse NEEDS a Primo album. FAST.
Only if all of the beats sound like either "Boom" or "Shake This". And if Primo were still consistently great. Oh, and if it was still 1999. Otherwise, I'm okay with Primo only contributing a few beats, as long as they're the best he can offer.
DeleteSo now Primo's inconsistent?
DeleteNow I know you're crazy.
In all seriousness.
DeleteHow costly is it to make a Primo album?
And, can it fit under the mainstream line?
Or, more importantly, does the mainstream simply hate boom bap now?
I second what Max said. I liked the beat he gave Joey Badass for Unorthodox, but Primo hasn't been dropping gems like he used to. Doesn't mean he's washed up just yet
Delete