For The Max-Approved Mixtape: Tha Alkaholiks - "Read My Lips"

Artist: Tha Alkaholiks

Title: "Read My Lips"

Producer: E-Swift

Album: Coast II Coast (1995)

"Read My Lips" is the second track on Cali-based merrymakers Tha Alkaholiks' sophomore album, Coast II Coast, but it plays as the introduction, or rather, the re-introduction to the booze-filled antics of rappers Tash and J-Ro, along with primary producer and sometimes-rapper E-Swift.  Some of that is because the actual first song on Coast II Coast, "WLIX", is a showcase for other Likwit Crew affiliates and, as such,is dominated by producer Madlib's team, Lootpack, so even though Tash and J-Ro make appearances, it's tantamount to them making cameos on their own shit.  

But most of that is because "Read My Lips" hits you in the chest from the first note.

Longtime readers will recall that I frequently name Tash as one of the most underrated rappers in the game, even with his spotty solo career, so it should surprise absolutely nobody to learn that he's the dude that kicks the track off.  The rhymes throughout are all boasts 'n bullshit: hell, Tash's very first bar contains a dick joke.  But they're delivered in such a brash, cocky style that heads that slept through their debut, 21 & Over, are forced to at least acknowledge the guy has fucking skills behind the microphone.  

J-Ro, in turn, is forced to match his partner's performance, and does so well, with rhymes that come across in writing as more rudimentary than his peers, but sound damn pleasing to the ears.  Each man gets a verse-and-a-half to get their shared point across: Tha Alkaholiks, jokey name aside, aren't playing around.  Producer E-Swift gives his boys a hard instrumental that is playful and melodic, and yet semi-threatening all at once.  He even contributes a hook, one that is unobtrusive and actually keeps things moving, which was nice.  

Coast II Coast struck a chord with the right people, I suppose, since it gave their label, Loud Records, two hit singles and a truckload of critical acclaim.  But you're only able to get that far if you give the listeners something that demands to be heard right away.  That's why "Read My Lips" is essentially a rap album intro, albeit the best kind: the one where the artists rap their asses off to set the tone.

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

-Max

RELATED POST:

Tha Alkaholiks - Coast II Coast (review)

Tha Alkaholiks - Firewater (January 24, 2006)

Firewater was touted as the fifth and final album by West Coast party kings Tha Alkaholiks. It was released almost thirteen years after their first disc, 21 & Over, and it was a promise that the group has kept, at least as of this writing: other than a few solo albums from Tash and J-Ro, there hasn't been a reunion, and there doesn't appear to be one in the works, either, although the group broke up amicably.

Firewater was the last effort by Tha Liks to provide the hip hop landscape with feel-good music, promoting a lifestyle that most other rappers had seemingly moved away from (weed still appears to be the vice of choice for hip hop). No longer a part of the Loud Records family (as that label had gone under), J-Ro, Tash, and E-Swift signed a one-off deal with Waxploitation Records, distributed by the Koch graveyard, and announced in 2004 that this was their last album.

This didn't really surprise me. The genre had changed in the five years since their last album, and their break may have been a little too long for Tha Liks to catch up. Focusing on the subject matter of drinking somewhat irresponsibly has always been a bit of a gamble for record labels to sell to a mainstream audience: when was the last time there were multiple deaths on the highway because someone had smoked too much pot? While the crew was able to offset their words (which, to be fair, usually included some cautionary tales) with hot beats that appealed to hip hop heads, their fourth effort, X.O. Experience, found the group saddled with the task of getting the club audience to care, so outside help like Rockwilder and The Neptunes were brought in: while their efforts were fruitful, the labels forgot to take into account that people are already drunk when at the club: they don't need to have someone extolling the virtues of beer goggles.

Still, I enjoyed their music, so I was sad to see them go. It's never the acts that you can't stand that retire, you know. (The lone exception: Master P. But did you ever really consider that guy to be a rapper?)

1. INTRO
Unnecessary.

2. TURN IT UP
Um, Tha Liks seem to be aiming for a mainstream audience, and their attempts are damn near condescending. Tash sounds good, and J-Ro is okay, but the inane hook and the beat's unquestionable bid for radio airplay both fall flat. It's not as if drinking is a subject that should be limited to underground artists or anything, but this song takes all of the fun out of getting drunk. Tha Liks shouldn't have to try this hard to bump in the clubs: they should just be themselves. I know, I know: easier said than done when it comes to the music industry.

3. THE FLUTE SONG (LALALA)
The female vocals on the “hook” sound like a reference track for the instrumental, and probably should have been deleted. Other than that misstep, this song was alright, as it manages the impossible: it recalls fond memories of older Alkaholiks content while sounding absolutely nothing like anything in their back catalog.

4. POPULAR DEMAND
I hated this shit. That's all I got.

5. THE GET DOWN
I happen to believe that Tash can rhyme to almost any beat and sound good, but E-Swift's instrumental puts that theory underneath a microscope for closer examination. This shit was boring as hell. I'm starting to remember why I stopped listening to Firewater.

6. GET INTO IT
If partying with Tha Liks really comes with an all-inclusive package of drinks, then I can forgive this otherwise trite song with a dull instrumental from The Rural (a terrible name for a production unit, by the way). If they just made that shit up just to make the chorus rhyme, then I am not having it.

7. FADED
I didn't find this skit funny the first time I heard it.

8. CHAOS
The crazy drums on here define the Danger Mouse beat, giving “Chaos” its first shot of energy and a much funkier sound than anything else on Firewater so far. (I'm surprised, too, especially since I'm not the biggest Danger Mouse fan.) Tash and J-Ro also seem refreshed behind the mic. This could have made more of an impact had it been sequenced immediately after the intro, but I digress.

9. HANGOVER (FEAT STYLIZTIK JONES & BISHOP LAMONT)
I found it weird that Tha Liks didn't already have a song with this title in their catalog, especially given their typical subject matter and their fucking group name. E-Swift's shuffling beat is okay, and Styliztik's line “if this is The Matrix, I'm the glitch” was of funny, but Tash is the shining star of this set. Tacking on probable Aftermath escapee Bishop Lamont at the end also added nothing to the proceedings.

10. PARTY YA ASS OFF
No thanks. After hearing this shit, I'd rather stay in and read some Grisham.

11. HANDLE IT
Meh.

12. ON THE FLOOR
The dialogue sample, commanding listeners to “get your ass on the floor”, is too disturbing and jarring to justify dancing in a club setting (or in the privacy of your living room, for that matter: you're too afraid that the owner of the authoritative voice will jump out of the speakers and shake the shit out of you). Which is too bad, as the song sounded pretty good without that shit.

13. POVERTY'S PARADISE (FEAT POOH)
There's hardly any rapping on here at all: Pooh's vocals sound alright in an “absolute definition of the term 'studio musician'” kind of way. I don't buy albums by Tha Alkaholiks to hear about society's ills, though: you drink to forget that shit. So, yeah, this didn't work for me.

14. DRINK WIT US
E-Swift's beat is much more dramatic than it needs to be, but I enjoyed J-Ro's BDP-inspired hook listing their friends within the industry, especially when he name-dropped the Deftones and Fishbone alongside the usual suspects Wu-Tang, King T, and Lootpack. They also shout out Xzibit, confirming that their brief feud had ended. The end of the track turns into a dedication to fellow artists who have passed on, making this the most touching song Tha Alkaholks have ever recorded, and it's still about drinking.
15. DO IT
The Rural's beat throws in an unexpected sample from “Ready Or Not, Here I Come (Can't Hide From Love)” (by The Delfonics), which I hadn't heard since Missy Elliott's Timbaland-produced “Sock It 2 Me”. There is nothing remotely West Coast about this instrumental, but I actually liked this track a lot.

16. OVER HERE (FEAT KING TEE)
This is how Tha Liks decided to end their final album? My wife had to wake me up to let me know that the CD stopped playing.

FINAL THOUGHTS: Firewater capped off the career of Tha Alkaholiks, who immediately (and amicably) disbanded after this disc was mastered (although they all still continue to work). This album contains a handful of tracks that deserve their place in their catalog, but it mostly proves that maybe Tha Liks should have called it a day after X.O. Experience. J-Ro and Tash sound like grizzled veterans who are still capable of bringing the noise when called upon, but they come off as weary, as if they noticed life (and, more importantly, hip hop) passing them by at a speed which they couldn't catch up with. This left Firewater sounding dated, even when it was a brand new album. That said, “Drink Wit Us” simultaneously pays homage to some of the fallen greats in hip hop while acting as historical evidence that Tha Alkaholiks have played a large role in the hip hop genre, making it a perfect final act for Tash, J-Ro, and E-Swift. It's just too bad that Firewater actually ended with fucking “Over Here”.

BUY OR BURN? I would like to tell you two to buy this, but most of the songs on here suck balls, to tell you the truth. Just burn the songs listed below and add them to an all-Liks playlist that you can create using their first four albums (and Tash's solo debut) as a basis. Or, at the very least, listen to “Drink Wit Us” and pour out some liquor for Tha Alkaholiks.

BEST TRACKS: “Drink Wit Us”; “Do It”; “Chaos”

-Max

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Tha Alkaholiks and their catalog are being discussed here. Make your opinions heard!

Tha Liks (Tha Alkaholiks) - X.O. Experience (July 3, 2001)

After the release of their third album, Likwidation, Tha Alkaholiks (made up of Tash, J-Ro, and producer/sometime-rapper E-Swift) took a much-needed break. Tash recorded and released a solo disc, Rap Life, while the other two focused on work and (presumably) drinking. However, in late 2000, an affiliate of their posse, the Likwit Crew, hit all six numbers in the hip hop lottery: rapper Xzibit, who is probably best known for his MTV reality show Pimp My Ride and his puzzling appearance as an FBI agent in the last X-Files movie, was able to wrangle in Dr. Dre to executive-produce his third album, Restless, which automatically provided the project with a higher media profile, and, as longtime fans expected, Tha Alkaholiks were brought in to provide a guest spot. Due to the exposure, the trio decided to hook back up for album number four, but they soon found out that hip hop had undergone a severe shift during their absence.

In 2001, radio-friendly rap was the name of the game, and all hip hop albums were damn near required to include more commercial fare in order to justify/guarantee a release to the big box stores, where more units were shifted. Thankfully, this did not mean that the Trackmasters had the airwaves in the grip of their cold, dead hands: the very definition of radio-friendly had also changed, incorporating concepts from producers such as The Neptunes, Timbaland, and (to a much lesser extent) Rockwilder, who would have begged for radio spins just three years prior.

Forced to make a decision or face the possibility if becoming irrelevant in our chosen genre, Tha Alkaholiks opted to change with the times. They commissioned beats from two of the three producers listed above (Timbo wasn't invited, but can you imagine Tash drunken driving over one of the better Tim Mosely creations?), while E-Swift handled most of the rest, although he switched his style up more than a little bit to ape the flavor of the moment. The group even underwent a controversial name change: for their fourth disc, X.O. Experience (note the badass cover art above), they officially switched up the group moniker to Tha Liks. Since I'm not writing their biography or anything, I have no clue if the name switch was label-required or the choice of the artists (although I am aware that it was done because most radio station deejays refused to play songs by a group that called themselves Tha Alkaholiks), but either way, the motive was clear: glorifying alcohol abuse = poor sales; taking that out of the equation = better sales (maybe?).

X.O. Experience sold rather poorly (even with some Neptunes assistance on the lead-off single, "Best U Can"), and the crew took another hiatus, although this one wasn't as necessary as the last. Tha Alkaholiks left their label, Loud Records (although, to be fair, all of Loud's artists left their label, as money troubles forced it to shut down) and, five years later, released one final album before officially calling it quits. It's sad to see that an obviously talented crew like Tha Alkaholiks saw their career end essentially because the trends changed to such a degree that their old fans seemed to stop caring, but like a fine wine, the last three Liks albums have improved with age (especially Coast II Coast, their best effort to date), so the timing may be right for a Liks renaissance.

Let's find out.

1. INTRO
A rap album intro that's interesting in a nostalgic educational filmstrip kind of way, but it's still ultimately skippable.

2. BAR CODE (FEAT XZIBIT)
X.O. Experience already sounds completely different from the previous three discs, thanks to E-Swift's imitation of the club-ready sound of the day. However, that isn't a completely terrible thing. While Tash and J-Ro sound as good as always (and J-Ro slyly references Tash's solo album in his verse), I question Xzibit's inclusion in what is ostensibly the group's reintroduction to the game. He sounds good, his added clout should have helped, and I know that Tha Liks are basically responsible for his entire career, but I would have saved his cameo until at least the fourth track in. Still, this is pretty good.

3. RUN WILD (FEAT SHAE FIOL)
I wasn't feeling the hook on this one. The instrumental also sounds like some generic Rockwilder-lite pop music (which is pretty bad, since Rockwilder actually handled the production duties). Lyrically, the two rappers sound decent enough, but I probably won't ever pay attention to this song ever again, and I'm betting that the two of you won't, either.

4. L-I-K-S
I didn't really care for this song, either (E-Swift's beat didn't work for me this time, and the whole concept of spelling your name in your rap song became obsolete, in my opinion, after Elmo from fucking Sesame Street dropped his Definitive Jux debut), but I love the fact that, whenever Tash or J-Ro start to rhyme, you're instantly transported into a much better mood than the one you would be in if, say, you just finished up reading the write-up for GangStarr's Daily Operation prior to this one. These guys have this party-rap shit down, and I mean that only as the highest of compliments.

5. BULLY FOOT SKIT
The first time I ever heard this skit, I thought it was clever that the ringtone/pager beeping at the end seamlessly leads into the instrumental for the next track. Hearing this today, it's a lot less clever, but at least it's short.
6. BULLY FOOT (FEAT BUSTA RHYMES)
Guest star Busta Rhymes seems to hijack this song from hosts (for good reason, as I later found out that Tha Liks were pretty fucked up during the recording sessions for X.O. Experience, and when they finally arrived at the studio to record this collaboration, they found Busta already working his ass off), but not because he outshines either J-Ro or Tash. It's simply because Busta's voice is the first one you hear, and DJ Scratch's production work suits his style more so than it would a couple of alcoholic artists. The beat starts to become unbearable after a short time, so don't say Max didn't warn you.

7. MY DEAR (FEAT DEFARI)
Well, someone responsible for this song was a huge fan of The Pharcyde's "Passin' Me By" (or, to a lesser extent, Joe's "Stutter", a song that I still like to this day). This song isn't bad at all, but Defari manages to fuck up the souffle by slamming the oven door with a verse that is both harsher than it has any right to be and very poorly written. (A note to all aspiring rappers: quoting a certain Trick Daddy song is never a good idea. Give this track a spin, and you'll see what I'm referring to.)

8. INTERLUDE
...

9. DA DA DA DA
I can't stand the lazy-ass hook on here, nor can I tolerate the imaginative song title, but lyrically, this is pretty good. It's not as if J-Ro was ever a bad rapper, but because he's usually outshined by Catashtrophe, his lyrical skills have been overlooked numerous times. On this track, he proves why you should give him a second glance (although, yes, Tash raps circles around him on here as well).

10. 40 OZ QUARTET PART I
Short enough to be an interlude, but this is really a one-verse wonder from J-Ro over some simple production (I believe E-Swift is utilizing the "breathing over a jug of moonshine with two x's printed on the side" technique to furnish the melody). Not bad at all.

11. SICKNESS (FEAT BUTCH CASSIDY)
I've always wondered why Tha Alkaholiks never collaborated with Method Man and Redman: I'm sure Red and Meth's blunted rhymes would compliment the drunken verses from Tha Liks any day of the week. Anyway, this song is pretty good, especially Tash's denouncing of weak rappers, although Rockwilder's production (his second and final contribution to X.O. Experience) is a bit too club-ready for my tastes.

12. GOIN' CRAZY
E-Swift's beat is overly simplistic, like one of those mixtape songs that fifty million other no-name rappers would jump on to further their own careers (or, at the very least, to see their name pop up on multiple blogs when their version posts). Tha Liks deserve better, as the track comes off as if no actual thought was put into this shit whatsoever.

13. BEST U CAN (FEAT PHARRELL WILLIAMS)
Tha Alkaholiks made their lone foray into the mainstream with the help from the hitmakers of the moment, The Neptunes, who were still riding high from their recent success. Although the combination of Tha Liks and Chad and Pharrell's dancefloor beats should sound fucking awful, I actually really like the song. It's not the crew's best effort by a long shot (and The Neptunes have also produced much better beats for other artists), but it is enjoyable, and you probably wouldn't kick it out of bed, either, if you're truly being honest with yourself.

14. 40 OZ QUARTET PART II
I would pay actual money (and not the Monopoly money I sometimes trick street vendors with) for an entire Alkaholiks album that utilized the moonshine jug throughout. Tash fucks up his one-verse wonder midway through: I smell a fix.

15. ANOTHA ROUND
I appreciate the fact that Tash references the crew's name change, but I still found myself bored to death by this shit. In fact, I just dug myself up out of my grave with the sole intention of finishing up this write-up.

16. YO MOUTH SKIT
...

17. THE BUBBLE (FEAT KING TEE)
It's hard to look past the beat, which sounds like background music for either some truly ineffective children's programming or for some online refresher on-the-job training. King Tee comes off the best, probably because his verse is the shortest, forcing you to listen to E-Swift's awful instrumental for the least amount of time. As such, he wins.

18. 151 (FEAT XZIBIT)
The closet thing to a "regular" Liks track on X.O. Experience, and the album is that much better for it. J-Ro's odd rhyme technique is off-putting at first, but the fact that he throws in an anti-drunk driving public service announcement in his final verse redeems it. Tash, of course, rips shit in a lovely manner. (Longtime readers will recall that I have frequently touted Tash as one of the most underrated rappers in the game.) This shit is just entertaining, which is all that music needs to be.

19. PROMOTE VIOLINS (FEAT KURUPT)
The title alone is pretty fucking hilarious. E-Swift's beat sounds like yet another instrumental Busta Rhymes would lease, hook up digital cable (or a satellite dish, if he were so inclined), and build an Ikea entertainment center within, but it still works for Tha Liks. Although Kurupt's verse is the weakest of the three (which is consistent with his current output: seriously, where did that guy leave his talent, on the bus?), the sound of this song is powerful enough to serve as an effective album closer.

FINAL THOUGHTS: X.O. Experience was a critical disappointment, failing to appeal to fans that religiously picked up the last three Alkaholiks albums. However, lack of sales should never be used as a true barometer for the album's effectiveness. While there is a lot more filler on here than on their previous efforts, Tash, J-Ro, and E-Swift have still managed to concoct a disc of enjoyable party songs without entirely dumbing down their message. It also helps that, when it comes to the lyrics, Tha Alkaholiks continue to shine, even when E-Swift's instrumentals take their inevitable radio-friendly detours.

BUY OR BURN? I would recommend that you two actually buy this shit (it is apparently out of print, but used copies should be relatively easy to find). Not every song works, but the disc as a whole is an entertaining package. You won't be disappointed, although Max is not legally responsible if you don't have the capacity or the capability to enjoy this album.

BEST TRACKS: "Sickness"; "Bar Code"; "Best U Can"; "40 Oz Quartet Part I"; "Promote Violins"; "151"

-Max

RELATED POSTS:
Browse the minibar for more Alkaholiks posts by clicking here.

Tha Alkaholiks - Likwidation (August 26, 1997)

Likwidation, the third album by the West Coast party animals Tha Alkaholiks, was released in 1997 by the almighty Loud Records. It was met with mixed reviews, which I suppose makes sense; there are a lot of skits, which can polarize any audience, and the themes are consistent with those of the past two discs, which can get tired with prolonged exposure.

I'm unable to find anything resembling a sales figure for Likwidation (since I'm just not trying hard enough), so it seems that their effort to stretch their boundaries over to the East Coast went unheralded. Nasir Jones, Keith Murray, and LL Cool Todd all appear out of the woodwork, although Keith is the only one deemed worthy enough to rhyme on the album. (More so than Nas?) The beats, of which the majority are provided by group member E-Swift, combine their West Coast laid-back party vibes with East Coast sensibilities; it may just be my imagination, but the drums on Likwidation seem to hit harder than on any of their previous efforts thus far.

But does that make that much of a difference?

1. AA MEETING (INTRO)
Alcoholics Anonymous? I can't believe they didn't visit this theme before. It would seem almost as if it were tailor made for Tha Liks, as it were. Too bad it sucks.

2. LIKWIDATION
Technically sound, but in a pedestrian sort of way. Even Tash, consistently one of my favorite underrated rappers, pretty much phones it in over this Easy Mo Bee instrumental. I have to say, I'm shocked. It also goes on for about one minute too long, but that's just me being an ass.

3. CAPTAIN HOOK
I remember there being a mild controversy surrounding this song upon the album's release because Tash essentially disses the shit out of Theo, a West Coast deejay at a station I'm not familiar with (he also popped up for a year or two as a veejay on MTV), but looking past that, the song is pretty good. I like how J-Ro takes the theme to a completely different level on his cross-country trek of a final verse.

4. NAS SKIT (FEAT NAS)
Kind of self-explanatory.

5. TORE DOWN (FEAT LOOTPACK)
Tash sounds more excited in the outro portion of the song than all of the rappers do at any point while actually rapping over this empty void of a Madlib beat (again, I'm shocked).

6. OFF THE WALL (FEAT KEITH MURRAY)
Must artists always resort to the cliche of "get your back up off the wall"? Just once, I'd love to hear someone switch it up a little, like "Get the wall up off your back!" or "Get that stuffed panda off the wall!" (you know, because it's tacky). A pre-imprisonment Keith Murray sounds decent on a not-completely-terrible beat.

7. KILLIN' IT (FEAT XZIBIT)
A very sweet tribute to King Tee midway through Tash's first verse is all I need to write about here, fuck Xzibit's guest spot!

8. LL COOL J SKIT (FEAT LL COOL J)
See "Nas Skit".

9. FEEL THE REAL
A song about the ladies, if not made specifically for the ladies. The beat is undeserving of the artists's storytelling efforts.

10. HIP HOP DRUNKIES (FEAT OL' DIRTY BASTARD)
Supposedly this is the group's biggest single ever in history. If that's even remotely true, than I call bullshit, because "The Next Level" is a much better song, and I recall hearing that song more often on the radio than this one. But on the other hand, how could you ever deny the infectious energy of Ol' Dirty McGirty? This song rocks.

11. AWW SHIT! (FEAT XZIBIT)
Not bad, but the beat reminds me of Faith Evans's "You Gets No Love", distracted me from the listening experience for a bit.

12. J-RO LATE SKIT
...

13. KEEP IT POURIN'
Incredibly meh.

14. LIKWIT RIDAS (FEAT WHORIDAS)
I know only two things about the Whoridas: jack and shit. And I'm all out of bubble gum.

15. FUNNY STYLE (FEAT KING TEE)
"My crew is blowing up like a Pinto"? Okay, I have to admit, that's pretty funny. King Tee's verse, sadly, is not.

16. COMMERCIAL SKIT
...

17. ALL NIGHT
The second single, which I still like today, even though it sounds a thousand times weaker today than it ever has for me. I also seem to recall a Western-themed video, for some reason.

18. DEBARGE SKIT (FEAT DEBARGE)
See "Nas Skit". Or don't, I don't give a damn.

19. PASS OUT
I love the beat; it's simple, but effective, and it sounds different from every other beat on Likwidation.

20. 20TH CALLER SKIT
...

21. ROCKIN' WITH THE BEST (FEAT PHIL DA AGONY)
Not bad, but not great.

22. CONTENTS UNDA PRESSURE
A really good way to end your third album, especially when the fourth one isn't quite guaranteed for you yet.

FINAL THOUGHTS: While there were no obvious radio singles, Likwidation comes off as Tha Liks's attempt for mainstream success, with a song selection that sounds like they were forcing themselves to have fun the majority of the time. The vibe isn't right, at least when compared to the first two albums. It makes sense that, after the release of this disc, Tash briefly ventured on a solo career before linking back up with the other two Liks. Likwidation reminds me of the old guy at the party that knows he's a little too old to be there, and everyone else knows he's too old to be there, but they allow him to act like a jackass all night because, in the past, some of his antics have been hilariously memorable. I'm not saying that Tha Liks have overstayed their welcome, but maybe it's time to go to different parties.

BUY OR BURN? Sadly, I would have to recommend a burn. The album is too long, and it seems that Tha Liks just mastered the first fifteen songs they recorded, without any air of quality control. The great songs are great, though, and are deserving of your attention.

BEST TRACKS: "Hip Hop Drunkies"; "Killin' It"; "Captain Hook"

-Max

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Tha Alkaholiks - Coast II Coast
Tha Alkaholiks - 21 & Over
Xzibit - At The Speed Of Life

Tha Alkaholiks - Coast II Coast (February 28, 1995)

Tha Alkaholiks were coming off of their critically acclaimed (but not especially financially successful) debut 21 & Over, and were looking to expand their sound, scope, and audience, all while keeping with their party vibe and better-than-average lyrical skills. To do so, they looked in the direction of the East Coast: on their second album Coast II Coast, the talents of Q-Tip and producer extraordinaire Diamond D are tapped, while King Tee and Xzibit are made available to represent the West. Tha Liks were poised for breakout success, as the mighty Loud Records poured their all into promoting this album; unfortunately, a kiddie act who called themselves Mobb Deep would see their seminal "debut" The Infamous hit the streets less than two months after Coast II Coast, and the marketing budget would be shifted to the newer disc.

Damn shame, that.

1. WLIX (FEAT DECLAIME, MADLIB, & WILDCHILD)
This is really just a glorified album intro, but since it features actual rhyming, it gets a pass. Great job sneaking Lootpack onto a mainstream release, by the way.

2. READ MY LIPS
Tash is still one of my favorite underrated emcees. This song still knocks today.

3. LET IT OUT
Rocks the same Enter The Dragon sample as Scarface's "Game Over", but this song is fucking great. The hypnotic beat engages your mind, and you kinda wish that Jeru's video for "Ya Playin' Yaself" was actually made for this song.

4. 21 AND UNDER
In an effort to sound a little bit more socially conscious, Tha Liks present a song about the dangers of underage drinking. Instead of choosing the preachy message route, Tash and J-Ro decide to stick with the storytelling format, and because of that, this song succeeds.

5. ALL THE WAY LIVE (FEAT KING TEE & Q-TIP)
Always appreciate a Q-Tip guest shot, but the song as a whole is only okay. Erick Sermon was supposed to be on here, but was replaced with Tip after Tha Liks realized that he reused lyrics from another song. I understand the reason for the switch, but considering that these days rappers reuse lyrics every goddamn day, what would the harm have been in keeping him?

6. HIT AND RUN (FEAT XZIBIT)
Yes, kids, Xzibit did other things before MTV and the acting career took hold. Xzibit's musical output was at its pinnacle during his time as part of the Likwit Crew. It made me sad when he defected to Aftermath's stable and effectively terminated the careers of Tha Liks by refusing to include them on every X-Z album after Restless.

7. DAAAM! (FEAT KING TEE)
Still sounds as playful as ever.

8. 2014
The beat kinda sounds like Biggie's "Long Kiss Goodnight", but, just like with that previously mentioned Scarface song, Tha Liks did it first, and arguably did it best. This J-Ro solo shot proves that, while Ro isn't Tash on the mic, he's more than capable of handling a song by himself.

9. BOTTOMS UP (FEAT KING TEE)
Not great.

10. FLASHBACK (FEAT BABY BUBBAS & XZIBIT)
Successfully gives off that party vibe that Tha Liks are known for. However, this song is very meh.

11. THE NEXT LEVEL (FEAT DIAMOND D & LIL' RO)
One of the best 'last tracks on a rap album' that I have ever heard. This song rocks! It's so good, you'll want to check out some of Diamond D's other work after you hear this.

FINAL THOUGHTS: Coast II Coast is an enjoyable sophomore effort in a musical genre known for instant gratification and the need for radio singles. While none of the songs presented here would ever be played on the radio again, they still deserve your full attention. Tash, J-Ro, and E-Swift continue to establish themselves as hard-partying, fun-loving West Coast artists who aren't afraid to branch out in the name of musical progression.

BUY OR BURN? I would definitely recommend a purchase. As an added bonus, you can probably find it for pretty cheap these days. Don't hesitate; buy it today!

BEST TRACKS: "The Next Level"; "Read My Lips"; "Daaam!"; "Let It Out"

-Max

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Tha Alkaholiks - 21 & Over

Tha Alkaholiks - 21 & Over (August 24, 1993)

Some may feel that it is socially irresponsible to write a post concerning a rap group calling themselves 'Tha Alkaholiks'. To those few, I say, "eh".

Tha Alkaholiks (a/k/a Tha Liks, updated during an unsuccessful bid at mainstream radio play) are a West Coast-based trio made up of rappers J-Ro and Tash, and DJ/producer/sometime rapper E-Swift. The main focus of their songs together was drinking (really?), girls, and partying. This group perspective came about after their first recorded track together, about living in the aftereffects of the Cold War, fell on deaf, drunken, girl-chasing, partying ears. According to Travis over at Wake Your Daughter Up, they were first known as Everyday Street Poets, which sounds just as uninspired as their music is entertaining.

21 & Over is their debut, supervised by their mentor and sometime collaborator King Tee, who renamed the group (and featured them on his own Tha Triflin' Album), and is responsible for creating the Likwit Crew, a collective of artists that included MTV's own Xzibit among their ranks. They never attained any real commercial success, but their musical output hasn't gone unnoticed. They helped define the West Coast sound, where even the violent misogynistic songs felt comfortable (which is in direct contrast to the East Coast's no-frills, smiles-be-damned philosophy). Also, Tash is severely underrated as a rapper, and ranks among my favorites. 21 & Over may have been built on the drinking gimmick, but these three artists seem to have fun with their music, and their excitement is contagious.

1. LIKWIT (FEAT KING TEE)
The beat is catchy as hell, and, even though this album is fourteen years old, it makes you miss King Tee. What the fuck has he been up to ever since the good Doctor fucked up his Aftermath debut?

2. ONLY WHEN I'M DRUNK
I hadn't heard this CD in a while, so I was shocked to find E-Swift actually rapping, although it's not like he's bad or anything. Utilizes the same sample as Jay-Z's "Ain't No N---a" and countless other rap songs.

3. LAST CALL
Whatever happened to artists having fun with their music? Not everything has to be so goddamn serious.

4. CAN'T TELL ME SHIT
The only track that doesn't feature Tash, which is a fucking shame. It's still good, though.

5. TURN THE PARTY OUT (FEAT LOOTPACK)
Features some jazzy drums and some awkwardly-paced lyrics from the guests.

6. BULLSHIT (FEAT KING TEE)
As entertaining as a song based on a Penn & Teller show can be. (Which is, very.)

7. SODA POP (FEAT FIELD TRIP)
I forgot to mention that this album is Illmatic short, except without annoying ass skits. This is the weakest song here, probably due to the guests, who I've never heard of.

8. MAKE ROOM
The first single, and oddly, it just has the sound of a first single. I realize that review makes no sense, but you'll get it if you hear the song.

9. MARY JANE
The album can't be all about drinking; this is the West Coast, after all.

10. WHO DEM N----S (FEAT THREAT)
Probably the most gangsta track on here, which isn't saying a hell of a lot.

FINAL THOUGHTS: 21 & Over is an excellent debut album by a promising group, and it still holds up today. Even though the subject matter rarely evolves beyond getting drunk or getting with chicks, you never really get a chance to get bored by it, as it's only ten tracks long. It's the perfect length for a hip hop fan who can't understand why all albums released today have to be twenty tracks too long.

BUY OR BURN? Oh, by all means, pick this one up. If you're looking for entertaining music that doesn't make you think, you'll love this shit. If you like listening to headache-inducing shit that forces you to confront your nightmares and takes multiple listens to discern what is being discussed...um, I'm sure you can pick up that Puff Daddy album at the used CD shop.

BEST TRACKS: "Likwit"; "Bullshit"; "Only When I'm Drunk"

-Max