This is a dope video and track by two dope artists from Detroit. Keep an eye out for Guilty's debut album Ode to the Ghetto dropping March 25th on Stones Throw.
Tuesday, February 5, 2008
Thursday, January 17, 2008
Prince Po and TomC3 - "Saga of the Simian Samurai" - Threshold Recordings (2007)
When notoriously slept-on underground duo Organized Konfusion (Prince Po and Pharoahe Monch) parted ways after their last official release The Equinox (1997), no one would have expected that both wordsmiths would have taken such drastically different solo paths. Neither emcee has enjoyed great commercial success while working on their own, (Pharoahe came the closest with his speaker wrecker “Simon Says” off his debut solo album Internal Affairs (1999) ), however both have pushed out solid product since then.
Where Monch has kept closer to the conscious tip, Prince Po continues his journey out into leftfield with his latest project Saga of the Simian Samurai (Threshold Recordings,2007) where he teams up with Bay-area producer TomC3 (known for his 2006 collabo Project Polaroid with Hip-Hop’s resident freakshow Kool Keith); to make heads realize that leftfield is quite a dope place to hang out in indeed.
Simian Samurai kicks off with a short instrumental (“The Saga Begins”) that features some relaxed keys interspersed with some turntable trickery and scratching courtesy of producer TomC3. This track would sound even tighter with some accompanying wordplay however.
Po begins hitting his stride midway through the disc, which is also where he happens to pack all of the heaters that require reloads. On “Candy”, he spits some agile bars about his obsession with a woman who works in the sex industry, over a slinky guitar-lick that would have Jenna Jameson shaking her money-maker.
“Now and Then” has Po taking a trip down memory lane over a bouncy funk-inflected beat where he compares popular trends from his youth to the things that are hot today, “Street Fighter 2 / Lee Majors / In Living Colour / NBA throwbacks…..MySpace /Afros and suede Pumas….”
The chemistry is definitely right on “Apocalyptic Medicine” where Po, and special guests Kool Keith and Motion Man volley tight verses back and forth over a soundscape that gives a nod to the forward-thinking aesthetic that Deltron 3030 and the Def Jux roster share.
The only real hiccup on the album is “Roota To The Toota” which strangely brings to mind the stomach-churning audio cheese “Addams Groove” that MC Hammer produced for the Addam’s Family Soundtrack from the early 1990’s. Just hit skip and everything will be ok.
If Prince Po continues to branch further away from the mainstream on his next effort, like he has on Saga of the Simian Samurai, then he will surely cement his place in the leftfield/experimental hip hop arena as an original voice that brings the promise of something fresh and exciting each time he releases new material
Friday, October 26, 2007
Hell Rell - "For The Hell of It" - Diplomat Records/Koch Records (2007)
The latest release from the Dipset camp, Hell Rell’s “For The Hell of It” (Diplomat Records/Koch Records, 2007) does much to uphold the street aesthetic that the
Diplomats are known for yet little to continue with the commercial flirtation that some members (ie. Cam’ron, Jim Jones) have enjoyed in recent time. Don’t expect “Ballin’ Pt.
2” on this record, just brace yourself for Dipset’s standard bombastic production coupled with grimy, hard-hitting rhymes courtesy of Hell Rell, who sounds like he has a bone to pick with the rap game on this, his long-awaited solo disc.
Diplomats are known for yet little to continue with the commercial flirtation that some members (ie. Cam’ron, Jim Jones) have enjoyed in recent time. Don’t expect “Ballin’ Pt.
2” on this record, just brace yourself for Dipset’s standard bombastic production coupled with grimy, hard-hitting rhymes courtesy of Hell Rell, who sounds like he has a bone to pick with the rap game on this, his long-awaited solo disc.
Based on the cover art alone for this album (Rell looks like he sees his dentist Dr. FullClip twice a year for regular checkups), you know you are in for some typical Dipset street anthems with an added dose of malice. On album opener “Intro”, Hell Rell boasts over a panicky instrumental, “I don’t get high no more/I smoke for the smell of it/Money just a hobby/N**** get it for the hell of it!”
“Streets Gonna Love Me” is reminiscent of Cam’ron’s 2002 hit “Oh Boy”, as Rell paints a picture, over a high pitched soul sample, of the bittersweet relationship he has with the streets that don’t reciprocate the love he has for them, “It’s funny that/I love the streets/But they on’t love me back.”
Rell invites a few guests to help add some menace to this already gritty album, including Styles P, Young Dro as well as Dipset alums Cam’ron, JR Writer and Juelz Santana. Absent from the album is Dipset “capo” Jim Jones, which seems to reinforce rumours about a widening divide between Jimmy and the rest of the Diplomats fam.
“I’m The S***” featuring Killa Cam, is one of the album’s standouts with Rell and Cam spitting over this car rattler that sounds like a jam session between a ghostly choir and the devil playing the drum kit.
Rell wraps things up smoothly near the end, with “Where You From” featuring Juelz, where over a laidback, soul-drenched beat, Rell gives thanks and praises to his Harlem crew that gave him time to shine in one of rap’s most interesting collectives, “Before I run off in the sunset/I f*** with a few things/But I’m only loyal to one set!”
After numerous mixtapes and guest appearances, it is nice to hear Rell stretched out over a long-player with no gimmicks, annoying DJ catchphrases and skits; just tight production and strong rhymes. This offering makes a strong case for Rell to receive a quick promotion within the Dipset ranks from a street soldier to at least a lieutenant. Hey Jimmy, what do you think?
Rating: 7.5/10
Rating: 7.5/10
To read this review posted on AllHipHop.com click here:
Tuesday, October 23, 2007
Common - "Finding Forever Tour" - September 24th, 2007 - The Kool Haus, Toronto, ON, Canada
A quick glance at the massive crowd and lines outside of the Kool Haus on Monday night were a good indication that the stock of Chi-City’s illest MC has clearly risen since the last time he touched down in the T-Dot, back in February 2006 at this very same (albeit less crowded) venue along Toronto’s waterfront.
Common, who was in town for a stop on his current tour to support his latest release “Finding Forever” brought along some lively opening acts in the form of Stones Throw artist and legendary underground lyricist Percee P and Q-Tip, whom some might remember from a little group called A Tribe Called Quest. Unfortunately, due to the lack of complete organization and a proper lineup system courtesy of The Kool Haus security staff (this is a persistent problem at this venue, and will continue to be until someone in charge gets their act together!), many concert-goers (including myself) were trapped outside steaming, listening to the muffled sounds of each artists’ opening sets.
Once inside I was immediately hit with a stifling wall of heat and humidity created by the combination of poor ventilation and the thousands of hipsters, b-boys and girls, thugs and middle-aged couples eagerly anticipating the return of Kanye West’s favorite rapper. The lights dimmed and the screaming began as vocal snippets off “Finding Forever” played over the sound system. Common bolted onto the stage dressed to impress in a white tee, expensive-looking denim and one of his trademark hats; and immediately had the floor bouncing with “Go” from 2005’s instant classic “Be” and his current single, “The People”.
A welcome addition to Common’s performance was the inclusion of a live drummer (Karriem Riggins, a producer/musician/power player who is known from his close association with the Stones Throw family); which added some sonic muscle to Common’s already dope live show. Common kept the energy of the crowd up as he played a little call-and-response with the sweaty party people in attendance during crowd favorites like “The Corner” off his last album.
A welcome addition to Common’s performance was the inclusion of a live drummer (Karriem Riggins, a producer/musician/power player who is known from his close association with the Stones Throw family); which added some sonic muscle to Common’s already dope live show. Common kept the energy of the crowd up as he played a little call-and-response with the sweaty party people in attendance during crowd favorites like “The Corner” off his last album.
The floor shook when Common unleashed a classic throwback collage in which he spit Toronto-centric rhymes (Shouting out street names, landmarks, etc.) over classic beats like “Just A Friend” by Biz Markie and Nas’ “N.Y. State of Mind”. Those fans who weren’t at his last show in Toronto, wouldn’t realize that Common pulled the same trick the last time around and it wasn’t something new; however it worked like a charm nonetheless.
The energy in the building waned slightly during “Testify” during which Common left the stage to change clothes and cut the music to deliver a spoken word portion of the track to create drama; however all it did was cause the crowd to stir restlessly and complain until the beat kicked back in. The unbearable heat was surely a factor, as several people were carried out unconscious by security; but the “mini-stage production” seemed to miss it’s intended target.
Common closed off his set with a stirring rendition of one of his all-time greatest tracks “The Light” which was produced by the late production prodigy J Dilla, whom was shown love by all inside the cramped Kool Haus. He then stated that, “I always close the show with The Light and typically don’t do any more songs….however because y’all been so good, I’ll do a couple more!” The crowd roared its approval as Common bounced through the Kanye-assisted “The Food” and “I Want You” off “Finding Forever”.
All in all, Chicago’s finest delivered yet another memorable performance filled with everything you would expect from Common and maybe a little you wouldn’t. Hopefully next time Toronto is graced with Common’s fine mic presence it will be at a venue that that offers some relief from the heat being produced on stage and amongst the fans.
To view this review at AllHipHop.com click here:
Friday, September 21, 2007
Grayskul - "Bloody Radio" - Rhymesayers (2007)
Grayskul’s latest offering, “Bloody Radio (Rhymesayers, 2007), their first release since 2005’s “Deadlivers”; is an album that shares a similar (albeit darker) feel to other artists coming off of the Rhymesayers label such as Atmosphere and P.O.S, yet it fails to leave a lasting impression after repeated listens; like numerous other albums have on this respectable indie label known for holding the torch for what’s known as “emo-rap”.
Grayskul, who are comprised of MCs Onry Ozzborn (aka Count Draven, Reason) JFK (aka Fiddleback Recluse, Count Magnus) and bassist Rob Castro hail from Seattle, Washington and came up on the underground circuit with the Oldominion collective based in the Pacific Northwest. On “Bloody Radio”, Grayskul definitely bring the gloom and chills similar to the unpredictable weather experienced on that part of the map.
Grayskul, who are comprised of MCs Onry Ozzborn (aka Count Draven, Reason) JFK (aka Fiddleback Recluse, Count Magnus) and bassist Rob Castro hail from Seattle, Washington and came up on the underground circuit with the Oldominion collective based in the Pacific Northwest. On “Bloody Radio”, Grayskul definitely bring the gloom and chills similar to the unpredictable weather experienced on that part of the map.
“3000 Voices” kicks off the album with a mesmerizing, hazy beat while the chorus of “3000 voices and they’re speaking through you / No telling what these party people might do…” leaves you feeling as if you have just woken from a bad dream, yet you can’t recall exactly what it was all about.
Title track “Bloody Radio”, sports a beat that falls a few BPMs short of becoming a drum and bass track; which is coupled with double-time verses from Onry and JFK that are for the most part undecipherable. We are again left guessing as to what subject matter is being covered in this particular track. The chorus, “What makes the world go ‘round? Radio! / What makes you scream and shout? Radio?”, suggests that Grayskul are waxing poetic on commercial radio and it’s negative effects on society. Possibly, but then again maybe not.
Track by track the album takes the listener through the many different negative feelings one can have experience, ,paranoia, fear, confusion. The list goes on and on. Grayskul spit aggressively on the majority of the tunes that make up “Bloody Radio”; it just seems that their anger is directionless.
Thankfully, there are a few notable guest appearances on the album. Def Jux’s Aesop Rock and Cage take their turn on the “radio”, as does Rhymesayer’s golden boy Slug (from Atmosphere). The album’s standout is definitely “The Office” which features guest verses from Slug and Aesop. The beat features a soulful sample and steady drumkick that all MCs sound right at home on. The track would fit in nicely as a bonus track on either Aesop’s “None Shall Pass” or Atmosphere’s last release 2005’s “You Can’t Imagine How Much Fun We’re Having”.
Grayskul’s MySpace page states that, “Bloody Radio is a perfect blend of study music intended for the open-minded listener…”. While an open mind is definitely required in order to enjoy all types of music, one can only hope that Grayskul themselves maintain an open mind when creating their next project, even if that means taking some cues from the “Bloody Radio” that they seem to despise so much. It could reap some benefits.
Rating: 6/10
To see this review posted on AllHipHop.com click here:
Wednesday, September 12, 2007
Raekwon - "Icewater: Polluted Water" - Babygrande Records (2007)
As time ticks by and we enter the fourth and final quarter of 2007, Wu fans are still awaiting the impending releases (or so we hope!) of the Clan’s 8 Diagrams (rumoured to drop sometime in late ’07 or early ’08) and Raekwon’s highly anticipated Only Built For Cuban Linx II which apparently is already completed and currently collecting dust at the offices of Aftermath Entertainment awaiting a release date. (For some insight into that situation, check AllHipHop.com’s exclusive interview with the Chef himself in our Features section.).
In the meantime, to satiate the thirst of Wu-heads worldwide Raekwon The Chef has put out a new album, Icewater:Polluted Water (Babygrande Records) which introduces us to his crew Icewater whom Raekwon pushes into the spotlight for the first time. Unfortunately, while this release does feature special guests such as Busta Rhymes and Three Six Mafia as well as production by Scram Jones and some fire rhymes courtesy of Rae himself; it fails to bring the same bang for your buck expected from a release stamped with the Wu Tang seal of approval.
Album opener “Animal” features a grimy New York beat and acts as an introduction to the members who make up Icewater; Polite, Stomach, P.C. and D.C.
A regular fan of Staten Island’s finest might be a little taken back at the simplicity of the rhymes that kick this album off, “…they say I’m wildin’/Plus I’m from the island/Something like Gilligan.” It’s clear right off the bat that this is not going to be the second coming of 36 Chambers, but there is promise.
The album starts moving in the right direction with “Do It Big” featuring Raekwon and Busta Rhymes trading verses with members of Icewater where they explain that the hustle they’re involved with on an everyday basis is not one of choice but one of necessity and survival. The soulful and somber beat is reminiscent of a cut off of 2005’s brilliant collab-filled album Wu Tang Meets The Indie Culture.
The album follows an almost hit/miss formula both in actual tracks as well as Raekwon’s experimentation. For example, on “I’m A Boss” where Rae teams up with Rick Ross, he sounds out of place on the South –flavoured club track. Not that there’s anything wrong with it, but it’s hard to picture Raekwon popping bottles at the club. A more reassuring image is Rae on the corner, in the middle of a cipher spitting darts.
He does however sound especially tight with his Icewater soldiers and Three Six Mafia on album highlight “Let’s Get It”. Rae kills his verse over the Sergio Leone-style Spaghetti Western beat, as he closes the track off with, “Wu Tang’s foulest/Icewater’s wildest/Three Six Mafie/Big Papi with the chalice”
While Icewater:Polluted Water, does allow us to hear some up and comers within the Wu dynasty it is evident that the Chef needs to add a little more seasoning before Icewater is ready to fully meet their potential as strong additions to the Wu’s satellite family. However, what this album does is remind us that a surefire classic in Only Built For Cuban Linx II is currently sitting on a shelf, when it should be bumping out of stereos worldwide. The Chef has surely prepared a fine meal in Cuban Linx II. Icewater:Polluted Water is just the appetizer.
Rating: 7/10
In the meantime, to satiate the thirst of Wu-heads worldwide Raekwon The Chef has put out a new album, Icewater:Polluted Water (Babygrande Records) which introduces us to his crew Icewater whom Raekwon pushes into the spotlight for the first time. Unfortunately, while this release does feature special guests such as Busta Rhymes and Three Six Mafia as well as production by Scram Jones and some fire rhymes courtesy of Rae himself; it fails to bring the same bang for your buck expected from a release stamped with the Wu Tang seal of approval.
Album opener “Animal” features a grimy New York beat and acts as an introduction to the members who make up Icewater; Polite, Stomach, P.C. and D.C.
A regular fan of Staten Island’s finest might be a little taken back at the simplicity of the rhymes that kick this album off, “…they say I’m wildin’/Plus I’m from the island/Something like Gilligan.” It’s clear right off the bat that this is not going to be the second coming of 36 Chambers, but there is promise.
The album starts moving in the right direction with “Do It Big” featuring Raekwon and Busta Rhymes trading verses with members of Icewater where they explain that the hustle they’re involved with on an everyday basis is not one of choice but one of necessity and survival. The soulful and somber beat is reminiscent of a cut off of 2005’s brilliant collab-filled album Wu Tang Meets The Indie Culture.
The album follows an almost hit/miss formula both in actual tracks as well as Raekwon’s experimentation. For example, on “I’m A Boss” where Rae teams up with Rick Ross, he sounds out of place on the South –flavoured club track. Not that there’s anything wrong with it, but it’s hard to picture Raekwon popping bottles at the club. A more reassuring image is Rae on the corner, in the middle of a cipher spitting darts.
He does however sound especially tight with his Icewater soldiers and Three Six Mafia on album highlight “Let’s Get It”. Rae kills his verse over the Sergio Leone-style Spaghetti Western beat, as he closes the track off with, “Wu Tang’s foulest/Icewater’s wildest/Three Six Mafie/Big Papi with the chalice”
While Icewater:Polluted Water, does allow us to hear some up and comers within the Wu dynasty it is evident that the Chef needs to add a little more seasoning before Icewater is ready to fully meet their potential as strong additions to the Wu’s satellite family. However, what this album does is remind us that a surefire classic in Only Built For Cuban Linx II is currently sitting on a shelf, when it should be bumping out of stereos worldwide. The Chef has surely prepared a fine meal in Cuban Linx II. Icewater:Polluted Water is just the appetizer.
Rating: 7/10
To see this review posted on AllHipHop.com click here: http://allhiphop.com/blogs/reviewsmusic/default.aspx?p=2
Tuesday, August 28, 2007
Aesop Rock - "None Shall Pass" - Def Jux (2007)
It’s been two years since Aesop’s last release, the excellent but brief “Fast Cars, Danger, Fire and Knives” EP and four since his last full length LP, 2003’s“Bazooka Tooth”; but the wait was definitely worth while. As experimentation has increased over the last few years in underground hip-hop (most noted within the Def Jux camp itself, with head honcho El-P branching out and teaming up with everyone from Trent Reznor and Chan Marshall of Cat Power for his recent album “I’ll Sleep When You’re Dead”); it’s nice to hear that Aesop (nee Ian Bavitz) has stuck with his proven formula of futuristic production and head-scratching rhymes on his latest opus.
The new album features strictly in-house production from Def Jux power players El-P and Rob Sonic as well as Aesop Rock himself on a few joints. Title track “None Shall Pass” sounds like a mash up of a xylophone loop and a high-pitched soul sample ala Kanye West. While the strange beat lulls the listener into a repetitive head-bob, Aesop spits the chorus, “I will rejoice in your fall from grace/ When I came to the sky like/None shall pass”. What exactly Aesop is referring to is anyone’s guess. The beauty in it is no one should really care, because it simply sounds great.
“Getaway Car” is a track that brings to mind a Starsky and Hutch car chase scene through the streets of San Francisco in the 1970’s; however this car is driven by Aesop, Breeze Brewin and the very underrated Cage (semi-famous for being name dropped repeatedly and hated on by a certain “other” white rapper who turned out to be a bit of a big deal. Any guesses?) Breeze Brewin, Cage and Aesop each take turns spitting fire over the blaxploitation beat that sounds like an outtake from “Fishscale” and just begs for a Ghostface cameo.
The album does have a bit of a dark and claustrophobic feel to it, just check “Gun For The Whole Family” featuring El-P for a perfect example, which sounds like a paranoid nightmare recorded on a DAT tape. El-P nods towards Trent on this industrial-tinged banger that has him and Aesop sounding tighter than ever together.
Although he spends the majority of the album caught up in his own complex rhymes and double metaphors, it is refreshing to hear Aesop inject some shameless humour at the beginning of “The Harbour Is Yours” where you hear a “REMIX!” shout that would sound more at home on a DJ Clue Mixtape, followed by some sarcastic laughing.
“None Shall Pass” proves to be yet another fine release from one of the hottest indie hip-hop labels around (Def Jux) and Aesop’s latest effort follows in the hot footsteps of Cage’s “Hell’s Winter” and El-P’s “I’ll Sleep When You’re Dead”. If “None Shall Pass” is any indication, we can all rest assured that the Def Jux label will keep pushing out fresh and forward thinking music that will carry listeners into the next decade of the new millennium and beyond.
The new album features strictly in-house production from Def Jux power players El-P and Rob Sonic as well as Aesop Rock himself on a few joints. Title track “None Shall Pass” sounds like a mash up of a xylophone loop and a high-pitched soul sample ala Kanye West. While the strange beat lulls the listener into a repetitive head-bob, Aesop spits the chorus, “I will rejoice in your fall from grace/ When I came to the sky like/None shall pass”. What exactly Aesop is referring to is anyone’s guess. The beauty in it is no one should really care, because it simply sounds great.
“Getaway Car” is a track that brings to mind a Starsky and Hutch car chase scene through the streets of San Francisco in the 1970’s; however this car is driven by Aesop, Breeze Brewin and the very underrated Cage (semi-famous for being name dropped repeatedly and hated on by a certain “other” white rapper who turned out to be a bit of a big deal. Any guesses?) Breeze Brewin, Cage and Aesop each take turns spitting fire over the blaxploitation beat that sounds like an outtake from “Fishscale” and just begs for a Ghostface cameo.
The album does have a bit of a dark and claustrophobic feel to it, just check “Gun For The Whole Family” featuring El-P for a perfect example, which sounds like a paranoid nightmare recorded on a DAT tape. El-P nods towards Trent on this industrial-tinged banger that has him and Aesop sounding tighter than ever together.
Although he spends the majority of the album caught up in his own complex rhymes and double metaphors, it is refreshing to hear Aesop inject some shameless humour at the beginning of “The Harbour Is Yours” where you hear a “REMIX!” shout that would sound more at home on a DJ Clue Mixtape, followed by some sarcastic laughing.
“None Shall Pass” proves to be yet another fine release from one of the hottest indie hip-hop labels around (Def Jux) and Aesop’s latest effort follows in the hot footsteps of Cage’s “Hell’s Winter” and El-P’s “I’ll Sleep When You’re Dead”. If “None Shall Pass” is any indication, we can all rest assured that the Def Jux label will keep pushing out fresh and forward thinking music that will carry listeners into the next decade of the new millennium and beyond.
Rating: 8.5/10
To see this review posted on AllHipHop.com click here: http://allhiphop.com/blogs/reviews/archive/2007/08/28/18488650.aspx
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