Remixed For Your Pleasure: Craig Mack - "Flava In Ya Ear"

In case you hadn't yet put it all together, let me explain this "remix" series that I've started.  Hip hop, more so than any other musical genre aside from maybe dance music such as EDM, thrives off of song remixes, and there are many reasons why a remix may come to exist.  The artist in question may wish to give the same message over a different musical backdrop, or he may want to use the same instrumental, but switch up the vocals, maybe even adding some of his or her friends into the equation.  He or she may wish to reach an altogether different audience than the original version might have focused on.  Or, these days especially, some entirely unrelated artist may like what they hear and wish to add their own two cents onto an existing track.  There are hundreds of justifications for remixing a song, but that doesn't mean that every remix is worthy of attention.  That's what this series will focus on: whether a remix needed to be made to begin with, and whether or not you should waste your time.

I started off with that ungodly twelve-minute Game remix to both (a) ease you in to what I'm trying to do, as I hope this becomes yet another avenue for song discussion, and (b) as an example of a meh track  that didn't need to be redone in the first place.  But having the star add a bunch of his or her friends to the party isn't anything new: that shit has been going on for fucking decades at this point.  True, not every collaboration is organic: a lot of them these days are merely business transactions set to a beat.  But that doesn't automatically mean it has to suck, and with that, I present to you Craig Mack's "Flava In Ya Ear".

Mack's first solo single (after an early stint the MC EZ in MC EZ & Troup) for Bad Boy Records is a hypnotic affair: producer Easy Mo Bee only needed to use some programmed drums and two fucking musical notes to grab your attention.  Mack's brand of shit-talking was on-message for 1994: proclamations of mic dominance that were entirely unfounded dominate the verses, as does Mack's unique flow, half-mumbling and half-shouting oft-unintelligible syllables and phrases that drag out just a few milliseconds longer than the average person would use when speaking them.  Obviously, that flow didn't pan out for a lengthy career, but it really was some new "Flava In Ya Ear", as this shit was a pretty big hit, both on the radio (it's a relatively clean song, to be fair) and in the club scene,  leading up to his debut album, Project: Funk Da World.

Seeing dollar signs in his eyes in a cartoonish fashion, label head Sean "Puffy" Combs quickly commissioned an official remix (this very remix, by the way, is why he considers himself the inventor of the remix, which would be fucking hysterical if he weren't being serious), pulling together a bizarrely ragtag team of rappers to contribute while allowing enough space at the very beginning to proclaim his love of the flick The Warriors.  For obvious reasons, Craig Mack's much-more-popular labelmate The Notorious B.I.G. was there: for inexplicable reasons, he kicks off the remix.  By no means is this a bad thing: Biggie's guest verse probably helped move even more units of his own debut, Ready To Die, as his bars, depicting how he gets his the "ski mask way" while getting "more butt than ashtrays" and demanding that weak rappers "take those rhymes back to the factory", encapsulate his attitude from his entire fucking debut album, and he easily steals the show from his host, who, again I don't understand why, comes through second.

The same Easy Mo Bee instrumental is played throughout the remix, and it's interesting to hear the different artists express their innermost shit-talking while working around a shared limitation.  It's even better when everyone present sounds as good as they do on here.  After B.I.G. and Mack, whose verse comes off as an extension of his own original track, albeit now coming from a guy who's seen some success come his way, Puffy tosses in some randos who, while all are well-known now, confused the shit out of me back in 1994, as I couldn't understand why LL fucking Cool J would be working alongside Puff Daddy.  But there he is, licking his lips and building that bridge that now exists between 14 Shots To The Dome and the commercial success Mr. Smith (which most likely did well because of LL's starring role on NBC's In The House around the same time of that album's release). Half of the guy's fucking verse seems to be made up of catchphrases that later ended up as bars or even song titles on Mr. Smith ("Hollis To Hollywood", anyone?).  But he proves how versatile Easy Mo Bee's instrumental actually is, as his verse, written for the dudes but enjoyed by the ladies who were forced by their boyfriends tio listen to this shit over and over, plays well over the backing.

Rampage the Last Boy Scout is really the odd man out on this remix: his career was on life support at the time, his first attempt at releasing a solo album ending up in a vault, and back in 1994, the best description for the motherfucker was "hey, that's Busta Rhymes' cousin, right?".  I imagine that's how Rampage ended up on one of the hottest remixes ever made: Busta most likely refused to do it unless he could bring his chauffeur into the studio with him.  Regardless of how true that explanation that I just pulled out of my ass happens to be, he doesn't let down his host, delivering a performance that made it seem believable that he was "going to live long in this rap game".  The fact that he's quickly overshadowed by his flesh and blood  (after Ladies Love Cool James delivers his bars, anyway) is just unfortunate for him, and hilarious for everyone else, as Busta Rhymes picked up his crown and sash as hip hop's cameo king on this very track, which led to many memorable guest spots and, eventually, his own somewhat-disappointing solo career, albeit one that has quite a few bangers in its catalog.

Puffy's usage of the "Flava In Ya Ear" beat to boost the career of The Notorious B.I.G. was a major dick move, but to his credit, Craig Mack never let on that he was upset: instead, he kept up with his many guests, extending his own shelf life for several months.  And, in reality, that's one of two things a proper, decent remix is supposed to do: keep your name out there.  The other thing is to entertain the listener, of course, and while we all may question Puff Daddy's methods, he's not an idiot, as these two presented tracks show.

GO WITH THE O.G. OR THE REMIX?  They're both pretty good, actually, but that remix, though.  Biggie alone is worth the price of admission.

-Max

RELATED POST:

Craig Mack - Project: Funk Da World (review)

For The Max-Approved Mixtape: Craig Mack - "Real Raw"

Artist: Craig Mack

Title: "Real Raw"

Producer: Craig Mack

Album: Project: Funk Da World (1994)

Craig Mack, which is allegedly his real name, should have been but a footnote in the history of Bad Boy Records.  He had the misfortune of releasing his debut album, Project: Funk Da World, after The Notorious B.I.G.'s Ready To Die, and as a result, never quite reached the pinnacle his labelmate did, even though he managed to sneak in a couple of hit records in his own right.  Yes, one of those hit records was a remix of his most popular single that became even more well-known thanks to a cameo from Biggie, but still.

That's a goddamn shame, not because Mack is some sort of unheralded lyricist deserving of a comeback (he isn't), but because Project: Funk Da World didn't deserve all of those unfair comparisons to Ready To Die that it inadvertently received, since Craig Mack and Biggie came up through different circumstances and, as such, were not the same person.  Some of the songs on that particular project are pretty enjoyable, as are many of the beats (Easy Mo Bee provided five of them, for fuck's sake).  The subject of today's post, "Real Raw", just so happens to be one of those hidden gems that hip hop heads of a certain age hope to come across when revisiting older albums.

Craig Mack provides both the rhymes and the beat for "Real Raw", and, surprisingly, he does a fucking great job with the music: I apparently described the instrumental in my original review as "whimsical", and I feel that description still fits today.  But that's merely because Mack had the balls to include a hint of melody (swiped from the main theme from Days Of Our Lives) on a track that is, if nothing else, fairly raw, thanks to the oft-heard drum beat borrowed from the Skull Snaps' "It's A New Day".  As much as I love The Automator (Dan Nakamura is one of my favorite producers of all time, which you two should know by now), I feel that Mack's beat would have made much more sense for Kool Keith to spit to for Dr. Octagon's own "Real Raw" (which is featured only on the Dreamworks re-release of Dr. Octagonecologyst).  It's really good, you guys.  

Lyrically, listeners won't find themselves challenged in the slightest, but Mack still comes through with a powerhouse performance that finds that sweet spot between mainstream acceptance and a "don't fuck with me" attitude.  Mack proceeds to spit three verses of boasts 'n bullshit, and while he never approaches the lyrical dexterity of his late labelmate, he also flows with more rugged authenticity than his boss Puff Daddy: his rhymes sound like the man hurriedly scribbled down as many similes and threats as he possibly could in a twenty-minute jam session and then recorded them as soon as he was able.  

Again, I'm not co-signing the lyrics: a rapper that dared to spit bars such as "I'm concrete, hard as the street, like pavement", or "I'm ready / To eat MC's like spaghetti" today would either be laughed off the stage or given a six-album deal with Def Jam, especially if set to trap beats.  Mack even tosses in the obligatory homophobic bar, since it was the 1990s, which by no means makes it okay, but allows for a tiny but of historical context.  The hook is a vocal sample that repeats the phrase, "I can get real raw, plus my style is hardcore", which, interestingly enough, doesn't get old over time.

Although an acapella of this track would sound pretty terrible, the marriage of the beat with the rhymes give Mack an edge that most of you two probably didn't  believe he was capable of.  The music isn't as radio-friendly as, say, "Flava In Ya Ear" or even "Get Down", but "Real Raw" could have made a fantastic B-side, and even though you two probably won't rush out to buy the album or anything, you should give "Real Raw" a spin or two.  

Do you agree or disagree with this selection?  Discuss below.

-Max

RELATED POST:

Craig Mack - Project: Funk Da World (review)

Craig Mack - Project: Funk Da World (September 20, 1994)

In 1994, hip hop fans were witness to a penetrating double-fisted attack on their chosen genre by record label executive and all around camera hog Sean "Puffy" Combs, courtesy of his Bad Boy Records.  The first wave hit store shelves on September 13, when Christopher "The Notorious B.I.G." Wallace told anybody within earshot that he was Ready To Die, to the tune of millions of copies sold.  The immediate follow-up went on the offensive one week later (sixteen years ago today) in the form of Craig "Craig Mack" Mack's debut, Project: Funk Da World, which moved at least five hundred thousand units and helped Puff Daddy live to fight another day.


Wait, what?  Craig Mack's album came out after Biggie's?  Apparently so.  My memory must be failing me: I swear that Project: Funk Da World not only dropped first, but its first single, "Flava In Ya Ear", was a hit long before "Juicy" ever made anybody nostalgic for Mr. Magic and Marley Marl on the radio every Saturday.  But I've been wrong before.  So let's rewind a bit further back.


Craig Mack began life as the MC EZ half of MC EZ & Troup, releasing his debut single "Get Retarded" waaaaaaaaaaaay back in 1988, back when most of my two readers were hanging out in a nut sack somewhere.  (This song isn't very easy to find, but luckily, the helpful folks over at ego trip included it on their album The Big Playback, intended as a companion piece to their Big Book of Rap Lists.  It's worth the effort it takes to listen to it; if nothing else, you'll discover where Dr. Dre got his inspiration for his Bulworth soundtrack offering "Zoom".)  Mack worked sporadically after that, but a chance meeting with Puff Daddy led to a recording contract with the freshly minted Bad Boy Records and a guest spot on a Mary J. Blige song, "You Don't Have To Worry" (thanks to Puffy's management contract with the Queen of Hip Hop Soul). 


Craig Mack quickly recorded his debut, Project: Funk Da World, with the help of producer Easy Mo Bee, who handled five of the album's eleven tracks (Mack himself helmed another five, with Rashad Smith rounding things out).  His flow, which consisted of that of a mumbled Pete Rock mixed with a mouth full of peanut butter and marshmallow-flavored gravel, was an acquired taste, but it couldn't be denied that he brought something unique to the table.  Unfortunately, he was quickly overshadowed by his younger labelmate Biggie Smalls, who would go on to, um, bigger and better things (ironically, his career actually springboarded from a cameo appearance on a Craig Mack remix), while Mack was delegated to back office duties at Bad Boy before he left the label entirely.


Project: Funk Da World was the second full-length album released on Bad Boy, but it has quickly been reduced to but a footnote in the history of the man that now calls himself Diddy.  Hell, Craig Mack barely makes a dent in the Notorious B.I.G. biopic Notorious (although someone playing him does make a brief non-speaking appearance during a photo shoot), even though it is believed that Puffy originally had more faith in Mack than he did in his eventual cash cow.  This is one of those albums that may come up in conversation every once in a while, but nobody ever pretends that they've listened to it. 


But that's doing Craig Mack and the year 1994 a disservice.  Project: Funk Da World is the only other project from Bad Boy Records that wasn't dipped in blingy excess: Mack forced the radio to cater to his whims.  ("Flava In Ya Ear" is still considered a hip hop classic to this day, so at least our host for the evening receives the occasional royalty check.)  So let's join up with the five hundred thousand other satisfied (I'm guessing here) consumers who claim to own this album and see if it works as a distant cousin to Ready To Die, or if it's supposed to be its own animal.


1. PROJECT: FUNK DA WORLD
Problem number one: this is a rap album intro, plain and simple (although Craig does actually spit some bars – more on that in a bit). Problem number two: the intro is based around (what I assume to be) a fictional military campaign and/or terrorist organization initiating something called “Project: Funk Da World”; the audio is recorded at such a low level that it's hard to make out exactly what the fuck is going on half the time, not unlike watching a Michael Bay movie where the multiple jump cuts disorient the audience. The robotic voice that runs through the second half of this intro is also annoying and obtrusive. On the plus side, though, when Craig and his “I'm rhyming with all of these marbles in my mouth” flow kick in over this self-produced beat, I actually forgot about my initial issues with this intro, as his lyrics meld with the instrumental as if they were born to do so. All in all, this was half good and half fucking useless.


2. GET DOWN
The second single from Project: Funk Da World throws audiences off at first, as Puffy and Craigy felt it was appropriate to use the first forty seconds of the track to play random gibberish as a way to introduce “Get Down”. When Easy Mo Bee's beat finally begins, though, nostalgic feelings will start to rush back to my two readers who were cognizant of hip hop in the 1990s (everybody else may just enjoy the simplicity of the instrumental). Although I was never convinced in the least bit, I've always loved how Craig Mack says “I ain't scared of you motherfuckers”. Here, Craig pairs three verses (delivered in an accomplished manner that could only work in the 1990s) with a surprisingly not-annoying hook, and it all works. (Side note: Q-Tip (from A Tribe Called Quest, although I shouldn't have to continually remind you two at this point) even remixed “Get Down” at one point, but I've always preferred Mo Bee's original production work.)


3. MAKING MOVES WITH PUFF (FEAT PUFF DADDY)
You didn't really think that Puff Daddy would miss out on making a cameo appearance on an album released on his own fucking label, did you? Here, he even convinced Mack to make his nickname a part of the song's goddamn title, which is truly one of the most conceited things Puffy has ever done. (Even Biggie wouldn't have any of that shit.) As such, even though Craig Mack plays along admirably (his line “Power Rangers ain't more amazin'” dates this third single incredibly, but it worked at the time), the overt influence of Diddy on the track makes this a half-remembered nightmare that you'll want to shake off very quickly.


4. THAT Y'ALL
I don't understand why this song has a title that makes no fucking sense when taken all by itself: had it been called “Like That Y'all”, then it could have worked, especially since Craig never uses the title phrase within the track's context without throwing the word “like” in front of it. Anyway, even without the presence of his label boss, Mack turns in a truly shitty performance, his confidence behind the mic undermined while he awkwardly tries to salvage the beat that wouldn't make for a good rap song no matter how many rappers or other flourishes you threw on top of it. A decent interlude, maybe, but never a good song.


5. FLAVA IN YA EAR
This is Craig Mack's signature anthem. When the man dies, this shit will be played on a loop at his wake. And deservedly so: this track still bangs today, thanks to Easy Mo Bee's simple, masterful two-note production that can't help but make Mack's lyrics quotable. This is the first song on Project: Funk Da World that can legitimately be described as “funky”. This is actually a better first single than “Juicy” was for his labelmate, a fact even Puffy seemed to realize, as he quickly recruited Biggie Smalls (as well as LL Cool J, Busta Rhymes, and Rampage the Last Boy Scout) to appear on the remix, which set up the rare occurrence of an all-star remix actually outdoing the original song (and helping Biggie break through to the mainstream). But this is Craig Mack's song through and through, and the original is still really fucking good. Even Jennifer Lopez, of all people, thinks so, as her “Ain't It Funny” remix jacked this beat without any remorse whatsoever.


6. FUNK WIT DA STYLE
Mack's beat sneaks up on you with its dopeness, and even though, once again, the title makes no sense (this time it's more of a poor word choice than anything else), Craig Mack rides the instrumental just like the pony he rode that one year in summer camp. It's not flashy enough to have ever been released as a single, but it's nice in its own way. This was unexpected.


7. JUDGEMENT DAY
Conversely, this song was weak as shit, although Easy Mo Bee does his beat to make the track at least sound as dramatic as he can. Lyrically, this is just a “Get Down” retread, which wouldn't be completely horrible if it wasn't for what happens to be the downfall for many a rap artist: the chorus. Maybe more rappers should look to a professional songwriter like Diane Warren for more help with their hooks. Hell, it certainly couldn't hurt.


8. REAL RAW
This self-produced gem of a song (which could have been perfect (by Craig Mack standards, anyway) if not for the brief bit of homophobia thrown in for good measure) uses an old-school aesthetic combined with a more modern sound with great results. Mack spits his rhymes in an entertaining and easy-to-understand manner, and the beat comes across as damn near whimsical. This was much more entertaining than anybody would ever expect from our host: why wasn't this ever released to radio? “Bwees” everywhere would have been happy with it.


9. MAINLINE
At this point, Mack's flow gets the best of him, as he is fucking unintelligible over a weak Easy Mo Bee beat. And when you can't understand a goddamn thing the artist is saying, you are either (a) listening to Bob Dylan, or (b) relying on the underlying music to provide clues, and the instrumental doesn't make anybody want to mainline anything. This track was fairly awful.


10. WHEN GOD COMES
Craig Mack takes a serious tone on this song, trying to prepare all of his “bwees” for the Rapture. Or something. It isn't overly religious, but the track is about what will happen if the title event ever occurs, so be forewarned. The beat, provided by Mo Bee, is okay, and it's not as if what Craig has to say isn't true (aside from the titular occurrence, which really depends more on your religious preference): in fact, he makes a lot of good points (he even chastises radio stations for playing overly violent music that can be easily accessed by young children), but maybe I'm not in the mood to be preached to. Odds are, you two won't be, either.


11. WELCOME TO 1994
1994 was actually a pretty good year for a younger Max, but this song doesn't remind me of happier times at all. I'm almost afraid that younger readers will listen to this track and believe that all hip hop sounded this bad during the mid-nineties. I assure you, that is not the case: this song is merely an exception. It's also a fairly bad way to end the evening.


FINAL THOUGHTS: Craig Mack's Project: Funk Da World and The Notorious B.I.G.'s Ready To Die are almost night and day, which is odd, considering that they both share a record label, a label boss who insists on becoming as big a name as his employees, and even a producer (Easy Mo Bee). But while Biggie was concerned with appeasing the “real” hip hop heads while handling Puffy's (admittedly brilliant, in a business sense) requirement of appealing to the mainstream (read: women), Craig Mack had no such filter, and he had the freedom to record the album that he wanted. And what he wanted to record was a project for the heads that liked to pretend that the mainstream didn't even fucking exist in this dojo, even after “Flava In Ya Ear” blew up on the radio. Project: Funk Da World is not a perfect album by any means, and Craig Mack's own lyrical flow takes some getting used to: in fact, it's entirely probable that some listeners will never be able to understand a single mumbled word coming from his mouth. But for folks willing to make the effort, Bad Boy Records did them a solid, releasing an album with four bona fide great songs and other misfires that are, at the very least, interesting to hear. Craig Mack will never be in anybody's top five, but he can be proud of at least half of the work found on Project: Funk Da World, because that means he will never be looked at as the weakest artist on the Bad Boy roster when the history books are written.


BUY OR BURN? Why the fuck not? You may as well pick this one up. It was touch and go for me for a while, but ultimately the tracks listed below tipped the scales. Don't go into this one expecting Craig Mack's version of a Biggie album, and you'll do alright.


BEST TRACKS: “Flava In Ya Ear”; “Real Raw”; “Get Down”; “Funk Wit Da Style”


-Max