See pics from Cormega's show in NYC with Immortal Technique.

With a backlash against commercially manufactured rap acts well underway, in 2004 independents continue to gain ground. It’s become apparent that, after a long hiatus, skills may once again become relevant as a measure of talent in rap music. Today more fans continue to forego mainstream artists and their often tired and predictable decor in favor on the substance and intellect displayed by lesser known but more provocative independent MCs.

Cormega was never supposed to be on an independent label; this was a major label MC in the mid to late 90’s when New York was making a big comeback against the West coast. Picture what Jadakiss does now, Mega could’ve been doing back in ’98; so figure it like that if you can follow. Mega would’ve been the slick rhyming ill dude to kick that fire verse at the end of a Total track (post Biggie, of course). But that never happened, shelved by Def Jam and caught up in contract disputes for years, Cormega found himself locked out of the game he was destined to thrive in.

While for many this would’ve been the end of the road; Cory McKay found a way to persevere in spite of circumstance. Starting his own Legal Hustle imprint in 2001 and securing distribution independently, Cormega proceeded to release two stellar LPs in as many years. While critics took notice, the buzz began spreading through the streets, into the suburbs and around the world. Mega had crazy skills on the mic and just about anyone who heard his albums recognized this immediately. With virtually no advertising budget The Realness and The True Meaning sold a quarter of a million copies combined.

After taking two years off to raise his daughter, Montana is finally back with his 3rd official offering, Legal Hustle, the album; this time around with even deeper distribution courtesy of Koch Records. Even though Cormega is featured on every song, Legal Hustle is technically not meant to be a full length Cormega LP but rather a compilation featuring new artists on the Legal Hustle label as well as special guests such as M.O.P., AZ, Ghostface Killah, Kurupt and Large Professor. While Legal Hustle features numerous quality cuts, the LP does not quite have the feel of Cormega’s previous two albums. In the past Mega has generally stayed away from guest appearances; by contrast, Legal Hustle is an entire album of collabos.

The obvious complaint in this case would be - not enough Cormega. It’s as if Mega has made himself a sidekick on his own album; although it must be noted that this was by design given the format. As Cormega explains it: “This album allowed me to experiment with different things that wouldn’t normally be on a Cormega solo album. Certain songs were done out of friendship with other artists and others were to show my versatility. My solo albums will not have as many guest appearances”. In the end, this compilation turns out to be a welcome change of pace; expect the unexpected.

Dońa, Legal Hustle’s first artist signee, is featured on five of the seventeen songs and shines bright. After seeing Dońa perform live alongside Cormega in NYC, it’s hard to believe that the voice you hear on record comes out of the same body you see on stage. Dońa rhymes hard for a dude, let alone a female. On Hoody, Dońa and Mega kill the track back to back rhyming over that Party And Bullshit beat made famous by one Christopher Wallace. “Yo, fuck all that don and king shit / I’m trying to be a convict who got rich like Don King did / You small minded, I’m a behemoth / Your stash is like half what I spent on sneakers”, Mega quickly reminds us that he has not lost a step. Now, if you are interested in what Dońa looks like feel free to browse some pics from the Cormega and Immortal Technique show in NYC. Dońa’s debut album My Brother’s Keeper is forthcoming on Legal Hustle Records in early 2005.

The compilation’s lead single Let It Go featuring M.O.P. qualifies as a classic high adrenaline street anthem while Sugar Ray and Hearns with Large Professor revisits a familiar collabo off The True Meaning with favorable results. On Deep Blue Seas featuring Kurupt and Jayo Felony, Mega switches up his flow and rhymes fast; it's not quite like when BIG flowed with Bone Thugs but in the same spirit and very impressive nonetheless. Tony Starks and AZ both turn in quality verses, reinforcing a collection of beats and rhymes that keeps you guessing but rarely lets you down.

On Bring It Back Mega chronicles the origin of Hip-Hop giving credit to numerous artists who paved the way while challenging present day MCs to step up their game. “It doesn’t matter if your chain is platinum / If what you say is average / You will not be mentioned with the greatest rappers”. In all Mega turns in a quality performance although he does not dominate the landscape of this album, appearing as a solo artist on only two tracks. Dońa is definitely the big surprise; will this female MC be able to step into the spotlight and make an impact is the big question. Production on Legal Hustle is excellent all around with tracks from The Feil Brothers, Ax Tha Bull, Emile, Ayatollah and J. Love, among others.

Currently on a sixteen city tour with Ghostface Killah, Cormega is finally making that splash. Some of us have been waiting for this since '96! The next solo Cormega release will be The Testament which actually predates both The True Meaning and The Realness. Cormega recorded The Testament while signed to Def Jam in the late 90’s. Although the album was never released or promoted by the label, it’s considered a classic by former Def Jam staffers.
 

INFAMOUS MOBB: BLOOD THICKER THAN WATER VOL. 1
Read Infamous Mobb interview.

It’s funny ‘cause before writing this review I had chance to read what some of the other so called critics had to say about Infamous Mobb’s sophomore effort Blood Thinker Than Water Vol. 1. What happened was; I got the album way before the release date but somehow some shit happened, as it always does, and before I knew it everyone else had already written something and I was like the last one to comment on this joint. Well, as usual most of the other critics missed the point. Many would recap the longstanding relationship between Infamous Mobb and Mobb Deep (who hasn’t went over that already?) and then offer some lackluster comments as to why the album had some high points but lyrically fell short of some obscure standard guarded by witty commercial grade MCs (cop out).

But what happened to mentioning that Infamous Mobb is like the fuckin’ hardest sounding group since Gravediggaz. Now I’m not talking beats; ‘cause there’s a variety of beats on the album; I’m talking strictly voices and delivery. G.O.D. Father Pt3 and Twin Gambino back to back makes Prodigy and Havoc sound like The Jackson 5, and that’s not easy by any stretch of the imagination. These dudes are fuckin’ hard, raw, period. And if you think the album is a front, watch the DVD, ‘cause it ain’t. Take a two hour documentary style tour through the infamous Queensbridge housing projects and you will see for yourself where this music comes from. Ain’t nothin’ sweet.

The DVD comes free with the album and features in depth interviews with Infamous Mobb, Mobb Deep, the Alchemist, Ron Artest of the NBA’s Indiana Pacers (who is a Queensbridge native) and many others. Filmmaker Jordan Tower paints a gritty and often startling portrait of a lifestyle that, to many, may only be accessible through the words on a CD they purchase in a record store. In one segment Twin Gambino reveals that he is partially illiterate since he dropped out of school at the age of 12 to hustle, “I can’t even read man; I can’t even read them contracts I’m signing, I get my lawyer to do it,” Twin chuckles. In a subsequent scene Twin recounts a shootout, pointing to chipped bricks on a nearby building as evidence.

Blood Thicker Than Water Vol. 1 features production from Alchemist, Masberg, Nucleus, Ric Rude and Sebb, among others. Nucleus delivers the hardest hitting cut on LP with the infectious Watch Your Step. Twin Gambino, Ty Nitty and G.O.D. Father Pt3 blaze the track all the way through on this up-tempo street anthem reminiscent of 90’s classics such as Broken Language (Smoothe Da Hustler & Trigger Tha Gambler) and Time 4 Sum Aksion (Redman).

On tracks like Empty Out (featuring Prodigy) and Greenback, both produced by Masberg, Infamous Mobb stays true to Queensbridge crime rap, painting vivid ghetto tales over dark soundscapes accented by muffled horns and piano keys. Chinky shines as she sings the chorus on the Alchemist laced Gunz Up while Big Noyd brings some extra ammo on Tonight. While not lyrically stunning as far tricky metaphors and wordplay go, Infamous Mobb more than makes up for it with their delivery and subject matter. Blood Thicker Than Water is a no holds barred, straight gutter, crime rap album. No stuffy record exec ever listened to this LP and picked what songs would go on it, and that’s the biggest difference of all. Blood Thicker Than Water was released on an independent label and executive produced by Infamous Mobb. The DVD is easily worth the $15 on its own.

KRS-ONE: Still # 1 With KRISTYLES

Officially, his career began in the summer of 1984 when a rap group called Scott La Rock and the Celebrity Three released the record Advance. However, as KRS-One would probably tell you himself, his real life education started at the age of 14 when young Lawrence Parker left his home in pursuit of a dream he would not fully realize for many years to come. The year was 1979; Hip-Hop was young and growing rapidly.

Bouncing around New York City homeless shelters, the future leader of rap’s collective consciousness was dubbed Krishna after taking a particular interest in the Hare Krishna spirituality teachings followed by several of the anti-poverty workers. Hare Krishna spirituality can be traced back to ancient India and emphasizes mind elevation as the path to pleasure and tranquility. Krisha spent his days playing basketball and reading books while watching the street culture of Hip-Hop blossom around him. Soon he became an active participant, taking up graffiti and writing KRS-ONE, an acronym for Knowledge Reigns Supreme Over Nearly Everybody, a phrase that would soon become a philosophy. It is around this time that Krishna met youth counselor Scott Sterling, known today to his fans as DJ Scott La Rock. Realizing that they shared a common interest in music, the two began collaborating.

Comprised of DJ Scott La Rock, MC Quality, Levi167 and KRS-One, Scott La Rock and the Celebrity Three broke up shortly following their debut amid contract disputes with the group’s record label. In the winter of 1984 KRS-One and Scott La Rock started a new group called the Boogie Down Crew. In 1987, the duo, now going by Boogie Down Productions, released the landmark album Criminal Minded. A few months later Scott La Rock was killed in the Bronx, reportedly while trying to break up a dispute. The rest is history.

Although many thought Boogie Down Productions would fold after Scott La Rock passed; KRS-One has released twelve full length albums since 1987 including By All Means Necessary, Ghetto Music, Edutainment, BDP Live Hardcore, Sex And Violence, Return of the Boom Bap, KRS ONE, I Got Next, The Sneak Attack, Spiritual Minded, The Mixtape and now in 2003, Kristyles.

Rarely adhering to any trends throughout his career KRS-One is recognized as one of Hip-Hop culture’s most proactive trendsetters. With regard to rap music in particular, KRS is often credited with the introduction of the reggae crossover style of MCing; a verbal aesthetic championed today by Bootcamp MCs Tek and Steele, among others. KRS-One is also the first MC to rhyme off beat, a style imitated by countless followers. While his accomplishments in rap phonetics are certainly noteworthy, the majority of KRS-One’s accolades have come as a direct result of the MC’s ability to consistently reinvent the content, character and direction of rap music as an entire genre by delivering thoughtful narratives with a style so charismatic and so forceful, it remains unparalleled to this day. In 2003 KRS-One continues to prevail as one of the most powerful and enduring forces behind the positive growth and evolution of Hip-Hop music and culture.

Often referred to as “The Teacher” or “The Philosopher” KRS-One’s fusion of Afrocentric consciousness and urban intellect has brought the rapper around the globe as Hip-Hop’s most prolific ambassador. Having lectured at Harvard, Yale, Vassar, Columbia, N.Y.U. and Stanford, KRS-One has recently added to his list of accomplishments by releasing the book Ruminations in July of 2003. An introspective account of issues ranging from spirituality and popular culture to education and politics, Ruminations is yet another testament to the cultural phenomenon that is KRS-One. If you are still not convinced after reading the book just listen to the new album and you will see for yourself why KRS is still #1. Plain and simple, whether it gets recognized as such or not; Kristyles is a modern day Hip-Hop classic. We said it right here and you better believe it.

If you go to MTV.com and do a search for KRS-One, you can read the rapper’s biography (the same exact bio, word for word, also appears on VH1.com). “Although a new rap hierarchy superseded the old school style of MCing represented by KRS-One, his commercial and creative decline during the 90’s should not detract from the importance, quality and influence of his work”, reads the last sentence of the brief account.

While certainly that may be one way of looking at it, the real story goes something more like this. By the time the early 90’s came around, record labels and other commercial entities engaged in the distribution and marketing of rap music had recognized the potential of certain rap acts to cross over into the mainstream. The goal then became to fashion artists who would be able to attain pop notoriety and recognition by generating sales outside the rap genre. Typically such artists, while often well arranged, employed shallow diluted themes which paled in comparison to the introspective lyrics of Hip-Hop’s most forward thinking MCs including Chuck D, KRS-One and Rakim.

After helping thrust rap music to the forefront of pop culture; the leaders of Hip-Hop’s renaissance became disenfranchised as their access to mainstream media was cut off as abruptly as it had been granted. Through a process similar to reverse engineering, corporate America had learned to manufacture a product which they could label Hip-Hop and sell to kids in middle-class suburban neighborhoods. The guidance and services of authentic Hip-Hop disciples were no longer needed. In fact, as Hip-Hop was never intended to glorify the stereotypical mainstream themes of lust, greed and violence, artists who chose to consciously stay true to the roots and moral teachings of the culture found themselves on the outside looking in.

You see; KRS-One never declined in the 90’s. It is the mainstream characterization of rap music that declined. The corporate standard by which the authenticity of rap music and the credibility of rappers was measured had sunk to a level so low as to encompass artists, themes and subject matter irrelevant in the natural settings of Hip-Hop culture. Today, while commercially successful, many mainstream rappers continue to be wrapped up in tired cliché’s consistent with the marketing convictions of their corporate sponsors. Their work remains immaterial to the progress and direction of rap music and Hip-Hop culture.

Never one to play the passive bystander, on Kristyles KRS-One flips the script on the industry once again; clearly proving that in 2003 he remains as relevant and as lyrically on-point as ever! It is MTV and mainstream rap radio that have become irrelevant to Hip-Hop, KRS argues. Certainly he could not have put forth a more convincing argument than the one offered on Kristyles. 17 tracks to the dome. No fluff. 100% Skill. For those of you who thought KRS-One fell off after releasing a gospel album. Think again.

On Gunnen’ Em Down, KRS brings the battle straight to the face of commercial rap. "You see them cats on TV playing a role / Gassin’ y’all! Them cats be over 30 years old! / Actin’ all dirty and cold / None of my classic albums they was worthy to hold / I’m concerned with the soul, understand / When we was slappin’ up rappers, they was doin’ the runnin’ man / You don’t know my style? We be straight gunnin’ man / If you don’t know, you better ask your older brother man". KRS rips apart the track, taking it upon himself to show us what real skill on the microphone is all about.

With Do You Got It, KRS continues his assault on mainstream media, proclaiming, "I don’t need radio or TV / All I wanna do is recite my poetry". At a time when rappers are manufactured through elaborate marketing campaigns and high budget videos, is there a more relevant topic? "Radio, these suckas never play me or Chuck / But do you think we really give a [f*ck]?" spits KRS on Ya Feel Dat, a standout track produced by DJ Tine Tim on which KRS also addresses the subject of flossing; "My wrists ain’t lit up, I don’t even live that life / Gold, diamonds, platinum I give to my wife / See diamonds are a girl’s best friend not mine / You got it; fine. But what about that rhyme?"

Ain’t The Same features a more laid back KRS-One urging for the return of authentic Hip-Hop. Drawing on the distinction between Hip-Hop as a powerful tool for empowerment as opposed to a commercial product to be bought and sold, KRS eloquently compares and contrasts the intent of the Hip-Hop’s founding fathers with the themes infecting rap music today. Ain’t The Same is a track that every young rap fan should hear. Unfortunately too few will get the chance.

On 9 Elements, KRS appends the Hip-Hop portfolio of elements to include Beatboxing, Street Fashion, Street Language, Street Knowledge & Street Entrepreneurialism; certainly worthy additions to the traditionally recognized four components. With Return of the Boom Bap production, Kristyles hits hard, track after track after track with infectious driving beats courtesy of Da Beatminerz, Ghetto Pros and Kenny Parker, among others. Without any doubt, this is certainly the album we have been waiting for! The sad part is that Krystyles features at least half a dozen radio hits that will never make it to the airwaves. Unfortunately in this day and age marketing budgets have grown to overshadow skills. It is ironic that true Hip-Hop continues to survive today just as it started 30 years ago, without radioplay, videos or mainstream media coverage. Perhaps that is how it was always supposed to be. If you want real Hip-Hop, this is it. Now go get the album.

BLACK MOON: TOTAL ECLIPSE

The year is 1992. Dr. Dre’s The Chronic is released on Death Row Records shifting the focal point of rap music from New York City to Los Angeles and exposing street rap to a never before realized commercial fan base. Concurrently a feud begins to gather steam as Snoop Doggy Dogg appearing on the classic Chronic cut Nuthin’ But A “G” Thang forcefully replies to New York rapper Tim Dog’s 1991 Compton diss track, not so casually titled Fuck Compton. 

California rappers and the California style of rap music featuring heavy basslines and catchy hooks quickly grow to commercial prominence. Having clearly stood in the capital of Hip-Hop since 1974 New York rappers are for the first time overshadowed as their gritty, introspective flows fall out of commercial favor. Before Enter The 36 Chambers and Ready To Die brought back the east coast Black Moon was the battle cry of New York City. 

Its ironic that only several months prior to his death Tupac Shakur flew several rappers from New York out to his home in California to record the album One Nation; among them were lead Black Moon MC Buckshot and fellow Boot Camp soldiers Tek and Steele of Smif 'N' Wessun. Tupac gave Buckshot the name BDI Thug which he caries with him to this day. The album One Nation is yet unreleased but BuckShot and Tupac appear together on the song Men At Arms which can be found on the unofficial Tupac LP Makaveli 2. 

It’s been over 10 years since Enta Da Stage and after waiting over six years for War Zone, Total Eclipse is definitely something to be excited about. While production on Enta Da Stage and War Zone was done entirely by Da Beatminerz aka DJ Evil Dee and Mr. Walt, Total Eclipse takes a slightly different direction by also featuring tracks from Coptic, Noltz and Moss among others. Tek, Steele, Starang Wondah and Sean Price aka Ruck of Heltah Skeltah shine on guest appearances while Buckshot weaves situational plots and educates the listener time and time again. Utilizing a unique flow and dominant mic presence Buckshot has always been able to keep the listener’s attention and get his message across. On Total Eclipse he does so with the highest degree of attention and skill trading verses with focused partner in crime 5FT.

On Confusion, up and coming rappers are convincingly educated about some of the industry’s harshest realities. Industry rule number ten thousand and eighty / Record company niggas are shady, baby / Definitely never maybe / You’ll have to be a pain in the ass / Like fuck you pay me; spits Buck over a standout track produced by DJ Static. 

Pressure Iz Tight produced by Da Beatminerz is the fastest cut on the LP and features tight aggressive rhymes by 5FT and Buckshot who rip up track after track with clever introspective dialogues interwoven with blunted flows. The themes entailed in Total Eclipse are diverse as they are complex and relevant. Never descending into the many redundant trends permeating rap music today Black Moon continues to elevate their trademark style, arguably reaching a level unseen since their 1992 debut. 

Total Eclipse is not just a collection of tracks to flip through, rather it is an album you can listen to over and over again from beginning to end; delivered by veterans at the top of their game. This is what the true fans have been waiting for. Nuff said. Now go get the album. 

Other projects forthcoming on Buckshot and Big Dru Ha’s Duck Down Records label include the highly anticipated 3rd album from the Cocoa Brovas (aka Smif 'N' Wessun) as well as solo albums from Sean Price and O.G.C.’s Starang Wondah. For all the latest Boot Camp news stay tuned to www.DuckDown.com. 

GANGSTARR: Still THE OWNERZ

The architects of postmodern Hip-Hop, Gangstarr is constantly teetering on the edge. Never overexposed; remaining just visible enough to be heard by those who know. Always relevant but rarely reaching the masses. Never, never overrated. Some may not realize that when Guru and Premier talk about redefining the Gangstarr formula to keep pace with the times, the real subject matter at hand is the fate of Hip-Hop itself. Carefully assessing the landscape since 1989’s No More Mr. Nice Guy, Guru’s flow has matured like a fine wine while over the same span of time Premier has crafted some of the best tracks in Hip-Hop’s history. Anyone who thinks Gangstarr is underground is either ignorant to Hip-Hop or a poser. Any Hip-Hop writer who promotes that same outlook needs to take a serious look in the mirror. It’s time to recognize the real. It’s not just the voice. 

Gangstarr’s last full length LP, 1998’s Moment of Truth, got four and a half mics in The Source and that wasn’t enough. It’s funny to see Guru and Preem’s newest release The Ownerz rated a mere L in the pages XXL (loosely equivalent to three mics). It is often the case that mediocre tabloid reviews may negatively impact subsequent album sales. Rarely does the same formula work in reverse as it does here. I never believed XXL for a second. The Ownerz dropped on June 24th. I copped the album in the early afternoon of the same day. I was right. The Ownerz is amazing. While XXL’s characterization of Guru as the most consistently adequate MC in Hip-Hop is laughable, it is very much consistent with the magazine’s recent direction including June’s Murder Inc. cover. But this isn’t about XXL, it’s about Gangstarr. So let’s get back to the program. 

There have been very few instances in rap, or in any genre of music for that matter, where an artist has grown hungrier and come harder with each consecutive LP. As we absorb the wealth of material entailed in The Ownerz it is important to realize that Gangstarr stands on the verge of doing just that. By any standard, however, it would be hard to top Moment Of Truth, arguably the best Hip-Hop album released in the ‘90’s. With that said; The Ownerz is a masterpiece in its own right. While not necessarily as deep and introspective as the material featured on M.O.T., Guru and Preem have never come harder. The message is clear. Hip-Hop has been hijacked by corporate interests and the wack MCs who do their bidding. Gangstarr is here to expose the truth, brandishing a fully loaded arsenal of beats and rhymes the architects aim to banish all clowns and reclaim the stolen land taken from the true owners of this game. Tired of playing second fiddle to MTV poster boys and fake thugs, Guru and Premier spare few details in giving us a piece of their mind.

The Ownerz opens in classic fashion telling studio gangsters to Put Up Or Shut Up. The chorus hits home, dismantling so many plastic rappers, leaving proverbial ice scattered in the street. “Oh you braggin ‘bout the keys you flipped and who you done up? / Nigga what up? / Put up or shut up! / Popping shit about the chicks and the wips you got? / You think you hot? / Put up or shut up! / Always talking about your dough and your wealth and fame / You’s a lame / Put up or shut up! / You got hot beats and kids that can spit mad fire? / You’s a liar / Put up or shut up!”

“Since I was 21 years old and legal / I knew the difference between gimmicky gangsters and powerful people”, spits Guru, inviting us to see through a façade that has kept real Hip-Hop in the dark and at the mercy of individuals who seek to exploit and deface an artform in favor of monetary gains. 

Flowing over a dark, grimy soundscape, Big Shug and Freddy Foxxx make an appearance on Capture (Malitia Pt. 3), recreating the magic of the original Militia track with a certain degree of success. On the deelo though, the real Militia Pt. 3 comes a few tracks later and goes by the title Same Team, No Games. Featuring relative newcomers to the Gangstarr family NYG’s & H. Stax as well as yet another fierce verse by Guru, Same Team, No Games is one more gem to be tucked away in the GangStarr library of hits. At 38, Guru shows no signs of slowing down; “Yo, I’m the Jerry Rice of this / Much too nice to quit / And just so you know / We never liked you kid ”. 

Gangstarr’s assault on commercialism climaxes on Piece Of Mine. As Premier angrily berates radio DJs for letting program directors dictate their track selection, Guru proceeds to rip apart the fakeness, accusing rappers of misleading the youth by painting pictures that do not exist in real life. “Rappers simply tracing flows and chasing hoes / Frontin’ mad hard / That shit’s amazing yo! / Producers making tinkerbell beats for them to rhyme on / They ass if they get on the same stage that I’m on”. The message resonates loud and clear. 

Snoop Dogg gets into the act and shines on In This Life while Fat Joe and M.O.P. drop in on Who Got Gunz. With too many standout tracks to mention, The Ownerz is another instant classic from postmodern Hip-Hop’s founding fathers. Another testament to the fact that platinum plaques don’t mean shit. If only more MCs and producers would follow suit and bring their skillz to the battle.

PUBLIC ENEMY: REVOLVERLUTION

It’s been 15 years since Yo! Bum Rush The Show ignited the revolution in sound and thought that is Public Enemy. Its odd that PE made it so big since Chuck D barely ever rapped about fucking bitches or brandishing gats. Some new school heads don’t understand Public Enemy. Talking to these people,they seem puzzled. Public Enemy? Why them? They debate great MCs talking ‘bout Biggie, Pac, Gza, Nas, Guru, Pun, Eminem; then you got the one dude who wants to appear as though he has some type deeper understanding of shit and that person will swear by Rakim. As soon as Ra’s used up, someone in the discussion counters with KRS; “No Man… The Bridge, now that was crazy!” Then you got someone who’s into that indie Hip-Hop shit… and they’re like “Yo…Slug from Atmosphere… No man, Eminem stole his whole style from Cage…listen to the CD dog”. Every group also has a dumb motherfucker in it… the dumb fuck is like “Yo, I don’t care what you say…The Blueprint was hot”. Sometimes Chuck D gets mentioned and sometimes he doesn’t. It doesn’t really matter though. There are those that know and carry the torch forward. 

Another day, a different debate rages. Among Hip-Hop’s elite producers we enshrine Premier, Dre and The Rza. For a second someone forgets about Marly Marl; a big sigh of relief follows his mention as everyone acknowledges that they are, in fact, on the same page. The dude that brought up Atmosphere starts rattling off a list of people no one ever heard of and insists that they are better than the producers thus far mentioned. Nobody disagrees with him. Everyone just nods. Trackmasters are casually brought up so that everyone can have a chance to bash someone. Some honorable mentions are handed out to Pete Rock, Large Professor, Da Beatminerz and with a degree of dissention to Timberland. Then everyone agrees that they are feeling The Neptunes. The dumb fucker is like “Yo, Swizz Beatz is hot dog”. Unfortunately the conversation ends before Hank Shoklee and the Bomb Squad are brought up. It doesn’t matter. There are those that know and carry the torch forward.

About two years ago I saw a one page writeup on Public Enemy in the back of an electronic music industry magazine, I forget which one it was. It should have been a cover story though. Through their Bomb Squad production team, Hank and Keith Shoklee pushed the boundaries of sound, defining numerous trends in the progression of electronic music. PE’s aggressive driving rhythms are the blueprint for the heart and soul of New York City style techno. You know, that real shit. Go ahead…disagree with me. It doesn’t matter. There are those that know and carry the torch forward. 

After 15 years Public Enemy is back on an independent label but they haven’t stopped doing what they do. Setting trends and redefining the scope of music and expression have been definitive characteristics of PE since the group’s inception. The revolution continues today. 1998’s He Got Game was the first single artist soundtrack by a rap artist for a film. 1999’s There’s A Poison Going On was the first world known artist album released on the internet first, immediately getting banned from US record chains. As some of the political turmoil fueling PE’s work through the late 1980’s and early 1990’s has subsided, Chuck D has refocused his message and actions in the arena of emerging music industry markets. A strong advocate of internet file sharing, the hard rhymer hopes to pave the way for musicians in years to come. In November 2000 SlamJamz was launched. Billed as an "internet-first" record company, the label, distributed by Koch Entertainment, released Revolverlution, a collection of new tracks as well as remixes and live versions of classic cuts such as Welcome To The Terrordome, Fight The Power, Shut ‘Em Down and By The Time I Get To Arizona. Revolverlution is similar in format to Greatest Misses aside from the fact that it covers a greater array of material.

Chuck D explains the choice of format as follows:

“One must remember that a new disc can never beat out a group’s prime time disc, because the eras can’t be carried over and the prime disc is still competing in the same record rack. Because rap is still evolving, classic Hip-Hop acts can’t make the same moves that a Rolling Stones, Aretha Franklin, Johnny Cash, Eric Clapton, Madonna, or even Sonny Rollins can make. The combination of heads between 15-45 have different takes on that classic rap act, and what they should release to the public. I feel that a “trilogy within” a compression of new, re-recorded and remixed old, and live tracks is a way that Hip-Hop artists with a 10 year career or more can release viable albums in a “right here, right now marketplace”. Besides when it comes to performances the new records only accent the staple classics from a time past. In this way within the “burn” generation this genre can show more longevity than the hustle mentality that exists in it today”.

The first of three disks to be released over the next 2 years, Revolvelution is another testament to the longevity and relevance of Public Enemy. Take a rap record from the 1980’s or even the early 1990’s, it doesn’t matter what. Put it on and you immediately recognize the sound of an era that has largely expired. Now put on Apocalypse ’91. That sound is as fresh today as it was 12 years ago, and that is the difference! We recognize the real and that is why we continue to carry the torch forward. Once again back is the incredible. It’s not over yet.

Don’t forget to check out www.BringTheNoise.com, www.RapStation.com and www.PublicEnemy.com.

Rating: 8/10

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NIGEL RICHARDS: FUTUREMATIC
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CORMEGA: Behold THE TRUE MEANING

See pics from Cormega's show in NYC with Immortal Technique. Had it not been slept on so hard, Cormega’s first LP, The Realness, would be enjoying classic status right now. Unfortunately things take time for Cory McKay. It’s been seven years since Mega stole the show on Affirmative Action. For the Queensbridge MC who is unashamed to rep his hustling roots, a good portion of that time has been filled with conflict and anticipation. I remember receiving a Violator promo tape some time in 1997 with a couple of tracks from Cormega’s forthcoming Def Jam debut The Testament. I waited and waited but The Testament was never to be released. For five years, one of Hip-Hop’s most anticipated artists sat on the shelf. Contract disputes with Def Jam persisted following a bitter falling out with QB ally and friend Nas. Mega was subsequently cut out of The Firm album featuring Nas, AZ and Foxy Brown and replaced by the enigmatic Nature; and we all know to where that led.  There have been few MCs that have been able to couple meaningful lyrics with a strikingly authentic delivery. Cormega is definitely one of those MCs. Cormega’s style is effortless. When you listen to his words, you get a sense that he is just speaking and not meaning to rhyme or flow on purpose, it just happens to be that way, and that is the beauty of it. Conversely and equally impressive is the complexity entailed therein.  Unlike some of Cory McKay’s previous acquaintances, The True Meaning stays true to the spirit of Hip-Hop. Released on Mega’s own independent label Legal Hustle Records, The True Meaning begins where Legal Hustle’s first release, The Realness, left off. "I killed it with The Realness / Now I’m bringing new life / Prestige is an illusion / People tend to lose sight". "All I really lack is fame"; points out Cormega on Ain’t Gone Change, an a cappella track equivalent in format to 5 For 40. Flexing a fully loaded lyrical arsenal Mega annihilates the microphone on Verbal Graffiti, a track orchestrated by Hangmen 3 and flavored by Persian jingles. After spitting venom at Nas for years Cormega breaks down and reconciles the nature of the beef on Love In Love Out. "What’s deep is / I had love for you / But through the situations / I can’t fuck with you / Trust is a luxury I can’t afford / Betrayal’s something that I can’t Ignore". While many have grown tired of the persistent beef between the two MCs, Love In Love Out is an exceptional track regardless of subject matter. Another quality cut is The Come Up featuring production as well as a rare verse by Large Professor. A Thin Line produced by Buckwild has Mega reprimanding a snitch for breaking the hustler’s code of honor and cooperating with police. "There’s a thin line between love and hate and you crossed it / You had respect around the way and you lost it / If a coward dies a thousand death, how you gonna live?" In The Legacy, Cormega reminisces of days gone by while eluding to many of QB’s Hip-Hop heroes. In Soul Food he speaks of a love triangle, rhyming over the instantly recognizable beat from 3 Card Molly, a track blessed by The Golden State Warriors in ’98. Not being a big fan of love songs, I have to say, Soul Food is a pleasant surprise. While The True Meaning spans many themes there is one unifying aspect to the release: the song writing ability and lyrical dominance of Cory McKay. Do not sleep on Cormega. This is the realness, as advertised.

Rating: 9/10

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NAS: The Impact Of GOD’S SON

With his sixth studio album hitting the stores and Jay-Z’s momentum fading, Nas has completed his long awaited comeback, reestablishing himself as the frontrunner among New York area commercially viable Hip-Hop artists who also enjoy street credibility. Don’t get it twisted, when its all said and done, Nasir Jones will get his props as one of Hip-Hop’s most prolific MC’s. The only question we wish to address is whether his latest release God’s Son will add to the legacy. First, lets recognize the fact that Stillmatic and The Lost Tapes back to back is a hard act to follow. An afterthought that still remains is what would have happened if the best six songs off Stillmatic and the best five songs off The Lost Tapes were released as one album? The philosophical implications of this argument lead us to revisit Wu-Tang’s sophomore effort Forever. Its been often asked; why a double? In both cases the answer is clear and that is why we ask the question in the first place. Regardless, what’s done is done so please send your hate mail to Columbia Records.

Made You Look, the Chameleon laced street anthem and lead single off God’s Son delivers the goods in a fashion reminiscent of Nas Is Like, the Premier gem on Nas’s third LP I Am. In a way God’s Son is analogous to I Am as both albums were pushed through on the strength of two preceding high quality releases. Will history repeat itself?

An alternate version of Thugz Mansion featuring 2Pac (the original version appears on 2Pac’s new LP Better Dayz) is fumbled as Nas spits the lead and the third verse. The original version has Pac doing the lead verse and talking before he breaks into his flow. His initial words and following lyrics interact together to build the meaning behind the concept of Thugz Mansion. With Nas taking the first verse, 2Pac’s opening comments are edited out and his verse is abruptly injected into the center of a track that inevitably lacks continuity. The lesson: If you are going to do a song with a dead artist you claim to admire – Let the dead guy spit the first verse!

Nas continues to dazzle us with his Slick Rick inspired old school style on I Can. Rhyming over another Chameleon track, which incorporates Beethoven’s Fur Elise, Nas encourages kids to stay drug free and reminds us that only hard work can get you where you want to be. To hear more of Nas rhyming like our favorite British born rapper check out Destroy And Rebuild on Stillmatic. Nas’ rendition of Rick’s flow is on point, complete with a slight accent and similar intonation.

Last Real Nigga Alive is an interesting track as it chronicles Nas’ career from the standpoint of the artist’s affiliations over a decade. From the Jay-Z beef to Steve Stout to the controversy of Bad Boy stealing the idea for Ready To Die’s album cover from Illmatic (both covers featured a little afro-enhanced black boy) to his relationship with Ghost and Raekwon. Nas covers all the bases and declares himself The Last Real Nigga Alive. For those of you who don’t remember, Verbal Intercourse featuring Nas and Ghostface on Raekwon’s classic LP Only Built For Cuban Linx easily ranks among the top five early Wu-Tang collabos. Nas’ verse from the classic track was a well deserved Hip-Hop quotable of the month in the Summer of ’95.

Other highlights include Dance, a touching ode to Nas’ recently passed mother produced by Chucky Thompson as well as Get Down and Hey Nas both produced by The Chameleon. It must be further noted that Salaam "The Chameleon" Remi’s production coincides with nearly all of God’s Son’s high points. Other production credits on the album include Eminem, Ron Browz, The Alchemist and Alicia Keys.

In all, while a solid effort, God’s Son inevitably falls short in surpassing Illmatic, It Was Written, Stillmatic and The Lost Tapes leaving the release to rank somewhere between I Am and QB’s Finest. Lyrically, the album suffers from several awkward concepts such as the hook on The Last Real Nigga Alive. "Lord have mercy / Jesus Christ / He’s just nice / He just slice / Like a Ginsu". Jesus Christ slice like a Ginsu? What the fuck does that mean? Does that mean that God’s Son slice like The Excalibur?

On the Nas and Jay-Z beef we have one last comment. Forgetting Illmatic, It Was Written is a better album than Reasonable Doubt. Except for Two 22’s and Friend Or Foe, Jay gets his props for that. What about Two 22’s vs. Rewind? You feel me? Oh, as far as The Blueprint, that doesn’t even count for anything.

Rating: 7/10

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FRANKIE BONES: ARMY OF ONE

While others try to pigeonhole innovation, Frankie Bones has personified it for well over a decade. Army Of One is another testament to the Producer/DJ’s proactive agility in consistently prevailing against the tides. Progression through regression and redistribution of sound has been a prevalent theme in Frank Mitchell’s production philosophy; and appropriately serves as the backdrop for the 21-track opus wholly produced and mixed by the legendary Godfather of Techno.

After opening with the synth-horn enhanced Six Hundred Dollar Man, Bones continues to impress by artfully manipulating two copies of the dreamy banger Inner Freak Style in classic old school fashion. Taking us on a trip through the history of synthesized sound, tracks like Bounce Skate Roll and I Am Ready remind us just how much we miss the sounds of yesterday. 

Following a transition from the classic into the synthetic, a lesson in techno awaits as Army Of One progresses through vocal flavored jams It’s Good For America and I Am Dumb Hot. A master at intertwining words and music together on a single plane, Bones delivers that talking, driving, ghetto-tech sound that brings to life the spirit of dance floor battles. 

As Army Of One heads into the home stretch, Vinyl Trip will surely have many an avid raver reliving that lost mid-nineties mixtape. In the end, we bring it all back to Brooklyn as The Motherfucking Saga Continues breaks into Take A Tablet; Army Of One climaxes one last time. “Take a tablet / Take a pill / We’ll pay for it / If we abuse / Our pistol helps”. 

While potentially hard to absorb for the casual techno fan, Army Of One is quite the chronicle. As Bones says in the sleeve, “Stop worrying about having the newest promos and learn all you can about the past. Knowledge is power… and power is how you become an Army Of One”.

Rating: 8/10

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GZA/GENIUS: THE LEGEND OF THE LIQUID SWORD

The long-awaited third solo effort from Shaolin’s sharpest lyricist comes at a time when the future of Wu-Tang Clan is uncertain. The Clan dominated Hip-Hop in the 1990’s with over 20 combined albums since 1993’s classic Enter The Wu-Tang. Releases such as Only Built 4 Cuban Linx, Liquid Swords and Forever have secured the Wu’s place in history while RZA has safely positioned himself alongside Dre, Marley Marl and Premier as one of the most enduring and forward thinking producers Hip-Hop has ever seen. 

So where is the RZA now? That’s easy. Working on the score for the new Quentin Tarantino martial arts flick Kill Bill with Metallica drummer Lars Ulrich… where else? Wherever he is, his production and influence has been notably scarce among recent Wu releases. Legend Of The Liquid Sword is no exception. Aside from lacing one track and spitting on another, Prince Rakeem is absent from the credits, leaving the Genius to rely on Beneath The Surface veteran Arabian Night along with Mathematics, DJ Mugz and Jaz-O among others. 

The lead single Fame follows in the thematic tradition of Labels and Publicity weaving the names of famous people into a flow that rivals the creativity of any of GZA’s previous work; truly a lyrical masterpiece from one of the rap game’s most clever and refined wordsmiths. “Water dripped out of Farrah’s Faucet in the glass / She was Superfly / Curtis Mayfield her Ass / Chris Tuck-her to a show / Ted Turn-ed her to ho”…the legend lives again in his own words. 

Animal Planet is another clever track where GZA employs references across the animal kingdom to paint a sticking metaphor for the human condition. Who else but the GZA can pull something like this off? When you can rap about a zoo and simultaneously bring about themes of street values and ghetto lifestyles you know you are at the top of your game. Ghostface and Streetlife make an appearance on Silent while RZA and Masta Killa provide additional ammunition on the Mathematics laced Fam. After years of perfecting his slurred flow, it seems the RZA has finally got a handle on his often-incomprehensible lisp; or maybe he just learned how to digitally refine his voice. Either way, it is a welcome improvement. 

Offering many highlights for die hard Wu heads, Legend Of The Liquid Sword is a respectable release, however, it lacks the continuity and cohesiveness of previous GZA LPs. Recall, RZA produced all but one track on Liquid Swords and executive produced Beneath The Surface. That should tell us something. Legend is more of a collection of tracks rather than an album. Still, it is a collection of tracks from one of the most skilled lyricists in Hip-Hop. Anyone who supports real Hip-Hop music and real Hip-Hop artists needs to own this album.

Rating: 7/10

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