In
2001, shortly after the release of their fourth full-length album
Take It Or Squeeze It, The Beatnuts found their career in a state of
disarray. Their label, Loud Records, a subsidiary that was owned by
Relativity Records, who had been Psycho Les and Juju's home since day
one, essentially severed ties with the duo, choosing to fulfill the
terms of their contract by releasing not one, but two different
greatest hits compilations, which is already pretty fucking absurd,
but then you realize that these two greatest hits compilations were
basically competing with a third, entirely different greatest hits
compilation released just two years prior, which is overkill for a
group that had only released four albums and one EP (well, two, if
you count the remix project) at this point. At least the third and
final collection, Classic Nuts, Vol. 1 (there would be no second
volume) featured two exclusive tracks found nowhere else, but still,
that's a pretty shitty way to be bought out.
So
Lester and Jerry were musically homeless. Rumors swirling directly
from me pinned the blame on Take It Or Squeeze It under-performing
sales-wise, both because it sucked (I will apparently never get over
this) and because Loud was in the process of transitioning into being a
label that no longer existed, so you can imagine that there was no
real marketing push (although two singles were released, neither made
as much of an impact as some of The Nuts' earlier work). Actual,
unsubstantiated rumors revealed that Jerry and Lester were seriously
considering reconnecting with their long-lost third bandmate Al Tariq
(previously known as Kool Fashion) and releasing a project under the
name Intoxicated Demons, taken from the title of their debut EP.
Which would have been cool, except that it didn't actually pan out.
Psycho
Les and Juju instead took their act underground, signing a deal with
Landspeed Records to record and release one project: their fifth
full-length album, The Originators, which dropped in 2002. It failed
to even make a perfunctory appearance on the Billboard charts, and
none of its singles were successful by any sort of measurement.
However, The Originators was critically acclaimed as a return to
form, which means less than nothing, since those same critics hailed
Take It Or Squeeze It as a genius piece of work.
Perhaps
less restricted than they were by the constraints of a major label, The Beatnuts dug
deep into their crates and found not just intriguing samples to use,
but also a stepped-up focus on lyricism, which is not to say that
Lester and Juju suddenly morphed into two Rakims behind the mic, but
it was clear that they started to give more of a shit about their
vocal performances, possibly because of their experience losing their
contract. As if to reinforce this aspect of the project, The Originators features guest turns not just from within the Beatnuts
family, but from outside acts who are known for the most part as
being “good rappers”, such as Ill Bill, Cormega, and Large
Professor, who counts, don't say that he doesn't, you know I'm in the
right.
Sadly,
because The Originators
didn't exactly set the goddamn world on fire (a terrible image to play
up given what I'm about to say later in this paragraph, I admit),
the albums promised within the liner notes (all from various weed
carriers) would never see the light of day. Which is
for the best: nobody would actually buy something from The Jihad All
Stars anyway, at least not in the United States, especially not when
it was promised so shortly after the 9/11 terror attacks (The Originators dropped less than one year later).
I
do like how Lester and Juju made it a point to mention in those same
notes that the album was “written and produced on trees” and
“engineered and mixed on yae yo”; at least they still maintained
their sense of humor throughout this experience.
1.
INTRO
Rap
album intros such as this one tend to annoy me, because come on, we
all know The Beatnuts didn't record this album live in front of a
studio audience. Still, the energy is high, and with that comes the
promise that The Originators maybe, just maybe can top the
frustrating Take It Or Squeeze It. It doesn't have to try very hard
to meet that goal, anyway.
2.
BRING THE FUNK BACK
But
then they kick off the evening with “Bring The Funk Back”, which,
musically, sounds even worse than nearly everything on this album's
predecessor. The instrumental is lethargic: even the hook, which
gives the song its title, comes across as apathetic. Wonderful.
Psycho Lester tries his best to claim that The Originators is for the
fans who have stuck around all these years, but even he doesn't seem
to be all that convinced. Also, Lester refers to himself as “Big
Psych” so often on The Originators (he's done it before, but it
happens a lot on this project) that I wonder how 2Pac's weed carrier
feels. Junkyard Juju carries the swagger a bit more successfully,
but all in all, I did not like this shit one bit. Groan.
3.
YAE YO (FEAT. ILL BILL & PROBLEMZ)
A
good bit of misdirection at the very beginning, when Lester and Juju
allow a section of Giorgio Moroder and Debbie Harry's “Rush Rush”,
best known for its use in the Al Pacino / Brian De Palma Scarface and
for its inspiration of misspelled slang for cocaine in hip hop,
including within this very song's own title, before the actual music
kicks in. I'm a New Wave junkie, so of course I didn't mind, but
what was nice is how the rest of “Yae Yo” doesn't feel like a
bait-and-switch. The Beatnuts and their invited guests, Ill Billiam
and Problemz (who comes across as a more concise Juju) all rap about
drugs or guns or something, it doesn't matter, but each participant
commands their respective verses, making this a late-career gem for
our hosts. Huh.
4.
DRUNK SKIT
...
5.
BUYING OUT THE BAR (FEAT. CHRIS CHANDLER)
A
goofy lark that is punctured by the inclusion of an R&B hook
(courtesy of guest star Chris Chandler). I honestly can't imagine
Lester and Juju sitting around in the studio drunk, high, and feeling
the vibe of an R&B hook, but then again, I can't really picture
most rappers doing that shit, and yet hip hop tracks with R&B
hooks are crafted at a very rapid pace. For less than five cents a
day, you, too, can help prevent this kind of song mutation from being
released into the wild, and you'll be honoring the artist's original
intention, which is to entertain and stick to their roots without
selling out. (*cue Sarah McLachlan song*)
6.
WORK THAT POLE (FEAT. TONY TOUCH, BIG ANG, & CHRIS CHANDLER)
The
'Nuts and Tony Toca connect once again, this time for an ode to
strippers because, well, they like strippers. And why wouldn't they?
“Additional vocals by” guest Big Ang uses the hook to croon
about how she doesn't “wanna fight” and is all about just
“getting [her] paper”, and our trio are certainly feeling both
passive and generous this evening. Mixtape deejay Tony Touch does
his thing while Juju's verse comes off as a bit inattentive, not of
the subject matter but of the act of rapping in general, but what I
remembered the most was Lester's bizarre boast of being “too hot
for TV, too cold for video”. The fuck is that supposed to mean?
7.
ORIGINATE (FEAT. LARGE PROFESSOR)
The
sort-of title track is a celebration of digging through the crates in
order to find that perfect sample for your beat, or at least it is
for Juju, so it's entire appropriate that The Beatnuts brought on
fellow digger Large Professor to contribute. Extra P and Juju
discuss their craft in enjoyable and entertaining ways: indeed, Juju
seems to be excited to not be rhyming about bitches and brew. Psycho
Lester falls into his usual traps, but even his verse is a cut above
most of the shit we've heard thus far. I would actually love to hear
these guys talk about the actual process, maybe alongside some of
their other peers, but for now, I'll take this, since the song is
actually pretty good. It is a bit weird that they would hire Extra P
and not commission a beat from him, though.
8.
MY MUSIC (FEAT. AMARETTA & PROBLEMZ)
Juju
doesn't appear on “My Music”, but you two can pretend his
presence is felt, since his more articulate soundalike Problemz spits
the final verse. The Beatnuts mirror the format of the seminal posse
cut that all others dream of being when they grow up, Marley Marl's
Juice Crew-filled “The Symphony”, if not the beat itself,
allowing for Problemz, female rapper Amaretta (yeah, me neither), and
Psycho Lester to each spit a stanza unencumbered by concepts such as
“context”, “cohesion”, and even “concept” itself.
Enjoyable, if slight, and Juju's absence is felt when you're waiting
around at the very end, hoping that he didn't forget to pick you up
from soccer practice again.
9.
U CRAZY (FEAT. CORMEGA)
The
Beatnuts bring Mega Montana an instrumental that very closely
resembles something the guy would purchase for one of his own crime
tale-riddled solo projects anyway, so obviously the guy feels right
at home and outshines his hosts easily. Lester and Juju have never
been the strongest lyricists (see: the shitty chorus), but even when
working around their limitations, they still manage to turn in
decent-to-good efforts. I'm just happy to hear our hosts giving a
shit again, to be honest.
10.
YA BETTA BELIEVE IT (FEAT. CHRIS CHANDLER)
Ah
fuck, I spoke too soon.
11.
ROUTINE (FEAT. WILLIE STUBZ)
A
misfire, but a semi-interesting one, thanks to the out-of-left-field
low-key instrumental that hits the target. Juju, Lester, and an
uncredited-for-some-reason Willie Stubz don't bring much to the table
lyrically, though, so the boasts of their “daily routine[s]” are
diffused by the hook's commands to “clap your hands” and dance,
which, wait, what?
12.
BIONIC (FEAT. AL TARIQ & EL GANT)
The
Beatnuts invite their former bandmate Kool Fashion Al Tariq to
play, because what the fuck else was he doing, really? But Juju takes the
day off anyway (his slot is filled by something called an El Gant),
which is for the best, as this collaboration is awful. It all starts
with the instrumental, which is annoying and doesn't seem like
something a bunch of rappers should spit over, and goes south from
there, as Lester and his friends fail to notice how annoying the
music is and proceed to spit over it. Their respective verses are
nowhere near as good enough to shift the tides. Oh my fuck, was this
bad.
13.
BECKS 'N BRANSON (FEAT. TRIPLE SEIS & MARLEY METAL)
As
if he sensed that he was needed or something, Juju kicks off yet
another posse cut, although this one has a much grander, commanding
sound thanks to some sampled chanting throughout. The Beatnuts and
their weed carriers give “Becks 'N Branson” their all, with only
the poorly-named Marley Metal faltering, although that isn't much of
a critique as it is a commentary on the fact that someone
statistically always has to be the worst in a group, right? Not bad
at all.
14.
BACK 2 BACK
The Originators ends not with a Greg Nice cameo (no bullshit, twelve
years on and I just realized he isn't on this project at all), but
with a Psycho Lester solo shot, on which he boasts about “mak[ing]
hits” and the five-million-dollar cribs there's no fucking way he
would be able to afford at this point. “Back 2 Back” focuses
solely on shit-talking, which is fine, but Les has run out of ways to
say the same things, and where the hell is his partner in all of
this?
BUY
OR BURN? Maybe don't pay full price for the thing, but you should
pick this one up regardless. The Originators is almost good enough
to erase your memory of Take It Or Squeeze It entirely, which is
quite a feat indeed.
BEST
TRACKS: “Originate”; “U Crazy”; “Yae Yo”; maybe “Becks
'N Branson” if you're feeling charitable
-Max
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Catch
up with The Beatnuts by clicking here.
Looks like u have one more Beatnuts album to go, Milk Me which was the last one to they put out I believe.
ReplyDeleteFor now. I ran this to show that I was serious about finishing what I started, though. I mean, two Beatnuts reviews within six months? TWO?!
DeleteNot the same Anon as above but I thought it was an excuse to troll people for requesting crap like that NEW MOBB DEEP dammit!
DeleteNever thought I'd see you recommend another Beatnuts album haha. Might have to check this one out.
ReplyDeleteHey, Max. In light of the computer problems you've had, did you have any of your collection on a cloud drive? Are you considering it now? Great to see you back in the mix.
ReplyDeletehey what do you mean finish what you started as in every artist on that side bar you gonna finish all their discography what the anyways
ReplyDeleteNot all of them, but a lot of them.
ReplyDeleteIn which case, you might finish Freddie Gibbs... ;). but cool review, i really need to peep some beatnuts stuff
DeleteUGK included? :D
DeleteUndecided.
DeleteBut Ridin' Dirty is a GOAT album!! You'd love it
DeleteBIG up to MAX, people!!!
ReplyDeleteI VERY MUCH appreciate this post.
I am impressed that you're sticking to finishing the Beatnuts. There's SOME hope for you, after all.
PS: Fuck you, Take It or Squeeze It was pretty decent.
Nice review Max.
ReplyDeleteThe Beatnuts are working with Tha Alkaholiks as a new group called "Liknuts". Here's their mixtape: http://www.youtube.com/watch?v=nGlR_NdZmiI