Artist: 7L & EsotericTitle: DC2: Bars of DeathRating: 3 1/2 StarsReviewed by: Matt Barone The combination of a producer/DJ and an MC has been a proven formula for quality hip-hop since the musical genre’s conception. Gangstarr, The High and Mighty, and Jedi Mind Tricks are a few of the groups that have been met with acclaim by sticking to this simple recipe. Boston’s own 7L & Esoteric fall into this category, but may not be as recognizable as the aforementioned acts, despite grinding in the underground scene for nearly a decade. Having delivered uncompromisingly hard music to their devoted listeners for years, beat-maker 7L and bar-spitter Esoteric calm anticipation with their third studio album, DC2: Bars Of Death, what may be their strongest record to date yet still suffers from problems that have plagued the duo from jump. The highlights that DC2 boasts are blazing exhibitions of aggression and execution, pairing 7L’s relentless sounds with Esoteric’s energetic flow. Esoteric blesses the album with some of his best work, showing signs of growth and creative maturity. The melodic piano arrangement heard on “Rise Of The Rebel” inspires Eso to scribe his autobiography, while the Uno The Prophet featured “Touchy Subject” finds Eso and Uno engaging in a poignant debate over hip-hop’s ‘Caucasian invasion’. Guests Celph Titled, Apathy, and Lord Digga join Eso on the punishing “Way Of The Gun”, a template for gully posse cuts scorching with fiery verses and a combustible blend of horns, gun shots, and pounding percussion. On “Loud & Clear”, 7L’s medieval backdrop sets a fitting mood for Esoteric to brainstorm, touching on issues including political corruptness with lines like, “We got people overseas getting blown to bits, and thrown in a ditch, while Bush is at the game throwing the opening pitch” and “See, they all talk like Republican radio really, only right-winger I support is Cam Neely.” 7L’s board work on DC2 never lets up, with each respective beat offering something new. Handling duties on all but one selection (J-Zone’s typically addictive “Neverending Saga”), he demands industry notice. His composition of escalating electric guitars on the opener “Ring Music” brings to mind stadium rock’n’roll, and the rapid violin assault of “Murder-Death-Kill” makes unabashed violence sound deliciously entertaining. Where DC2 begins to falter in spots is when Esoteric and his array of friends rely too heavily on intimidation tactics rather than innovation over 7L’s creations. Tracks such as “Battlefield” and “So Glorious” quickly bore due to uninspired tough-guy talk, and “Deathgrip” would have been done much stronger justice as an instrumental interlude. DC2: Bars Of Death is a release catered to a specific audience, one that favors their rap music with a rougher edge. Co-stars Celph Titled and Apathy represent nicely for their Demigodz family, and 7L & Esoteric definitely fulfill the appetites of those who have been craving their raw brand of hip-hop since 2002’s Dangerous Connection. Eso’s mic skills still border too closely to forced battling, but improvement is clearly displayed, and 7L crafts some of the most entertaining production of the year. DC2: Bars Of Death may not break any new ground for below-the-radar rap, but as the old saying goes, if it isn’t broke then don’t fix it.

Artist: KRS-OneTitle: Keep RightRating: 4 StarsReviewed by: Martin A. Berrios There is no denying Blastmaster KRS-ONE’s significance in Hip-Hop. The Bronx legend has blessed us with several classics during his historic career as part of Boogie Down Productions (Criminal Minded) and for self (Return of the Boom Bap), while simultaneously playing a pivotal role in the preservation of Hip-Hop culture through his efforts with the Temple Of Hip Hop. The real question at hand is whether or not he is still musically relevant. Now on his 13th album, Keep Right proves that some of these rappers out today can still learn a thing or two from The Teacher. Lyrically, KRS has not lost his touch on the microphone. The overall cadence on this album is a little more aggressive compared to his most recent releases (Spiritual Minded, The Sneak Attack), but doesn’t at all sound forced. His energetic delivery on the updated classic “Illegal Business Remix 2004” makes the track an instant head-nodder. Kris rides the up-tempo beat effortlessly as he spits political and social commentary with the passion of a battle rapper facing a sudden death round. In vintage fashion, KRS-ONE drops various jewels on “I Been There.” How many MC’s must get dissed?/how many young men must get frisked?/how much ice could really go on one wrist?/how many shots get fired at a target and just miss?/we gonna live like this?” he asks. The track is piano driven with hints of turntable needle static for added effect. The production by B.Creative is reminiscent Havoc’s early work circa Mobb Deep’s Hell On Earth album. Other song highlights include the braggadocious “You Gon Go?”, the conceptual “My Mind Is Racing” and the L Da Headtoucha collaboration “Everybody Rise.” The album’s production compliments the lyrical intensity adequately. With the exception of “Stop Skeemin’,” the beats are gritty and up-tempo. Through the absence of the ever-popular sped up soul samples and the Pop crossover attempt, Keep Right is musically refreshing. KRS also brings producer Domingo back into the fold on “Are You Ready for This.” Other producers include Soul Supreme, Q-Bert and KRS himself. Keep Right does falter a tad with its structure. The album is 23 tracks deep including 8 interludes. Although these intermissions are not lengthy in time, they somewhat compromise the album’s replay factor. Also songs like “And Then Again” and “Me Man” would have better suited the album if they were longer. Nitpicking aside, Keep Right is solid. KRS-ONE proves that he can still do the dam thing with out worrying about any upcoming twilight years. Class is still in session.

Artist: The RootsTitle: The Tipping PointRating: 3 1/2 StarsReviewed by: Jason Newman When The Roots released their sixth album, Phrenology, in 2002, the general consensus was that while great moments were there, it left you more scratching your head than nodding it. Two years later and enter The Tipping Point, a partial about face to Phrenology and their most conventional album to date. The title is taken from Malcolm Gladwell’s 2002 book of the same name, which argues that ideas, behaviors and products spread in a similar fashion to viruses. Once a small group picks up an idea, their behavior will extend to more and more people until a critical mass, or “Tipping Point,” is reached. (Think of the proliferation of Von Dutch shirts and trucker hats across different demographics.) Have The Roots, with their seventh album, reached this point? It’s a question that’s hard, if not impossible, to answer. Up until Point, each album, while not detouring, has veered sonically from its predecessor. While the skillfulness of the band members remained a constant, the group has thrived on pushing the boundaries of what hip-hop is “supposed to sound like” both within the genre and the band itself. Listen to Do You Want More?!!!??! and Phrenology back to back and tell me you’re hearing the same group. The effect has led to admiration, alienation and, especially with Phrenology, bemusement. As each record was released, one wondered if “this was gonna be the new Roots sound from now on,” only to be thrown some sort of curve on the subsequent album. With Point, this streak is over, as The Roots deliver a fairly straightforward, and mostly solid, set of tracks. This is not to imply any sort of slacking or musical boredom on the part of the band. The Roots helped invent the idea of a hip-hop headphone listen and Point is no exception. Key instruments float in the background throughout entire songs. “Duck Down!” constantly bounces percussion from one ear to the other and back. “Star” ends with a guitar riff that could be in a Kabuki performance. You could probably count on two hands the number of hip-hop albums you hear new things on your tenth listen and for this, The Roots should be commended. But the added elements that turned off many listeners to Phrenology – the hardcore homage of “!!!!”, the freak-out free jazz that ends “Water” (arguably the scariest hip-hop track ever made) – are gone and what is left is The Roots’ “safest” album, with tracks that range from at least good to occasionally incredible. “Star,” the first half of opening track “Star/Pointro” deftly samples Sly and the Family Stone’s “Everybody is a Star” that-with its funk guitar riff and vocal samples reminiscent of early RZA production-immediately reminds you why you liked this band in the first place. Same goes for “Don’t Say Nuthin’” and “Stay Cool,” two standouts on the album. On “Nuthin’,” Scott Storch’s eerie keyboard sound recalls Kamal’s work on Illadelph’s “Panic!!!!”. Lending to the dark feel of the album’s first single is Black Thought’s mumbled chorus which, perhaps unexpectedly, serves as an appropriate vocal accompaniment. “Stay Cool” anchors itself around the same Al Hirt sax sample De La Soul famously used for Buhloone Mindstate’s “Ego Trippin’ (Pt. 2)”, augmented by what can best be described as snake charmer background music and a Pharrell-soundalike Spon on the hook. The Roots have the unique ability to take sounds you’ve heard countless times and make them feel fresh and unique. Perhaps not coincidentally, “Cool” is followed by a pair of tracks, “Web” and “Boom!” that embrace their respect for the veterans that pave the way, reminiscent of Phrenology’s “Thought @ Work” and “Things Fall Apart’s “Table of Contents, Pt. 1,” “Web” is a Black Thought vocal demonstration that proves why he is vocally one of the best emcees in hip-hop. “Boom!” sees Black Thought doing spot-on imitations of Big Daddy Kane and Kool G Rap over ?uestlove’s raw drumming. The major complaint that Thought doesn’t really say anything is only slightly assuaged on Point. Known more for his vocal delivery and cadence (listen to how he flawlessly rhymes “man” with “playin’” on “Don’t Say Nuthin’”), Thought does get political on “Guns Are Drawn” and “Why (What’s Going On?)”. On the former, he rhymes, “You know the stakes is high, we in the face of drama/That’s why we can’t shake it or escape the problem/It’s like a game of roulette the barrel revolving/They only wanna see us occupying a coffin.” His delivery complements the music so well though that his lyrics, at this point, may be treated by many as an afterthought. At least he’s saying more than most commercially successful emcees. The souled-out R&B influence has come up before in The Roots’ catalog, particularly on Phrenology, but nowhere is it more present than on Point. Virtually every song uses a neo-soul crooner to sing the hook, steering The Roots as much into fellow Okayplayers D’angelo & Jill Scott territory as their rap peers. While at times the choruses fit the song perfectly, as on “Stay Cool,” other hooks feel forced and pieced together with the rest of the song carelessly, particularly on “Duck Down!” With a hook that borders on sappy and a beat that goes nowhere, “I Don’t Care” is the only song that stands out as an overall dud on the album. What will probably be the first thing people notice about Point is how quickly it ends. As hip-hop albums get longer and longer and more skits, interludes etc. are added for no discernible reason, it is a testament to a band whose last four albums have all exceeded 70 minutes to make a 10-track, under 50-minute record (not counting the bonus track which sees Dave Chappelle riding the popularity of his Lil’ Jon imitation). ?uestlove has been quoted as saying that his favorite albums are all under 35 minutes and the brevity of the album only reinforces the strength of […]

Artist: White BoyTitle: No Gray AreaRating: 2 1/2 StarsReviewed by: Paine Milkbone was a somewhat cool name in its time. Yeah, it dealt with the obvious. Granted, that was 1995. A decade later, any rapper calling himself White Boy is creating an elevation to the treadmill of the industry (I mean did Black Child ever get any rec?). White Boy is a greater-Chicago area rapper who apparently has been grinding it out on the low. With a strong buzz concerning his first video (“U Know”), the rapper unveils his album chock-full-of guests, including the highest profile figure in Hip-Hop, Kanye West. Will No Gray Area hold up to its sample, or is it lost in a black hole? White Boy is a new artist making a debut impression on the world. Despite his high profile single, a lot is required to create a market for the rapper, lyrically. No Gray Area has some worthwhile qualities in lyrics. White Boy rides a beat well. His delivery ranges from very slow on “U Turn My Whole World Around” to very quick on “Hold Tight.” White Boy’s voice also serves him nicely. The main problem, which is clearly unavoidable though, is content. Despite hooks that mislead a listener into believing there’s a message in a track, there is essentially nothing coming from White Boy’s mouth besides rhyming words. Even a piece like “Growing Pains,” goes in circles, as White Boy cannot rap a storyline or convey any sense of emotion. Equally, nearly every track features a guest. Clearly, White Boy needs to deal with his own sixteen bars before he dares expand to forty-eight, and he knows it. Among those guests, Kanye and Twista make high profile, above average appearances. The most pleasing guest though, is former Rap-A-Lot sensation, Johnny P, who peppers up two tracks with great guest crooning. The production on the album is far stronger than the lyrics. The lead single “U Know” may be the album’s most exciting musical moment . Kanye’s groundbreaking recreation of a Doo-Wop track is a new turn in his seemingly unstoppable direction. Cheap, easy, heavy sample tracks like “It’s Alright” and “Can’t Get Out the Game” are soothing moments. But others, such as “Where Da Party At?” and “What!” are just awkward moments that belong on a demo, not the album. In between though, his album celebrates the Chicago sound at the height of its relevance. If White Boy manages to strike the appeal of the club-minded listener off of this album’s single, the beats should not disappoint. This album lacks everything it will take to be worth talking about in a year, let alone five. The rapper seems to deal with very club-minded topics. Rather than keep it street, White Boy dwells on materialistic symbols (Cadillac’s, Remy, & Dro) and status signs of a gangster (“Man Up”). His production is to match. At the peak of soul-sampling, White Boy enlists Kanye and several producers who are chasing Kanye’s sound. Despite a rather impressive debut guest list, No Gray Area depends on immediate mass appeal. If “Bling Bling” can do it, so can “U Know.” But just like B.G., White Boy will never be a quotable rapper.

Artist: The U.N.Title: U.N. Or U OutRating: 4 StarsReviewed by: Matt Barone The Wu-Tang Clan once asked the question, “Can it be that it was all so simple then?” Turning on the radio or flipping on MTV these days conjures up this intriguing question in the minds of hip-hop purists, with the majority of rap records favoring style over a once prominent amount of substance. Long Island representatives The UN are ready to take hip-hop back to when things were much simpler, using their debut album U.N. Or U Out to reinstate a once governing policy for the state of rap music as they shun flashy gimmicks for rugged street music. Sticking to straightforward MC’ing over consistently banging production makes this album a definite success for The UN, and despite its clearly underground appeal, should make some noise throughout the industry. Made up of rappers Rock Marciano (a once but brief member of the Flipmode Squad), Laku, Mike Raw, and Dino Brave, The UN enlist the beat-making talents of veterans Pete Rock and Large Professor alongside newcomers such as Mahogany in constructing hardcore sounds in the vein of mid-90’s New York City rap. “Mind Blowin’” is a straight spit-fest, with a bare-bones percussion arrangement inspiring lyrical brainstorming from all involved. The eerie violins of the instrumental induce the midnight darkness felt on “Golden Grail”, while “D.O.A. (Death On Arrival)” brings back memories of early RZA with its scattered vocal samples and snare kicks. “Ain’t No Thing” will require a neck brace post-listening, with its pounding orchestral composition. For some, the steady tough-guy talk may grow tiresome as U.N. Or U Out rolls along, but it seems as if these four UN delegates really don’t care what people think. One of the strengths of this album is the hunger that oozes through the speakers, never letting up as each MC delivers his rhymes with enough energy to hold ears at attention. On the aforementioned “Mind Blowin’”, Mike Raw opens his verse with, “Hit ‘em up, back in the days down to stick ‘em up/ I done put the tool down, Lord don’t let me pick it up.” It’s this narrative honesty that allows the group’s charisma to shine above its limited subject matter, as U.N. Or U Out entertains from beginning to end. If getting tipsy or going “skeet, skeet” in a club has filled you more with anger than joy, then investing in this UN album is a must-do. U.N. Or U Out is a much-needed return to hip-hop’s golden age, before The Neptunes and Timbaland replaced names like DJ Premier and Da Beatminerz as the go-to producers, and quality albums were made rather than just hot singles. The UN showed much promise when they appeared on Pete Rock’s Petestrumentals, and U.N. Or U Out exceeds expectations in bringing that rough, rugged, and raw music that has been absent for far too long.

Artist: Ground Original Presents…Title: ClaimstakeRating: 3 StarsReviewed by: N. Context If you missed DJ JS-1 and Dub-L’s first go around with Ground Original: Level One, here’s a second chance for you to get a first impression with Ground Original Presents: Claimstake. This independent production duo first began making waves by releasing break records and 12″ singles, and ultimately made a splash in the industry with Level One which featured the likes of KRS-ONE, Planet Asia, Evidence, OC, Kool G Rap et al. While Claimstake continues this all-star cast trend by including the likes of Common, Supernatural, Jeru the Damaja, and J-Live, the end product is just a’ight. Claimstake starts off behind the eight ball with its opening track “Ground Original”. The basic drum line and amateurishly mixed horn sample sound as if it was made with a “my first Sony” drum machine. React adds nothing to the song with his on/off beat lyrical flow. The second track is Supernatural doing “Truly Incredible”, based on his battle verse with Juice where he begins “what, wha, what, wha, what what…I’m Truly incredible…” While I love freestylers and freestyle battles, I’ve never been a fan of a freestyle song. Supernatural freestyled “Truly Incredible” in 2 takes and while that is impressive there aren’t any quotables or worthwhile punch lines. From there the album gets a lot better. The production emerges to be the foundation of the album. JS-1 and Dub-L provide a slew of “boom bap” dominated baselines for the artist to display their rhyme skills. “Day In The Life” has a spacey synthesized keys sample giving Chase Phoenix a “storytelling canvass” for him to play with. “Won’t Stop” features Jeru spitting the best I’ve heard since his debut album. Common blesses “While I’m Dancing” starting off “Night breathes/we hustle to fulfill life’s needs/travel at light speeds/the appetite for light weed/ got seeds to feed in between greed and need/deep in the struggle and a n#### need to breath…” A couple of other notable mentions are “Never Know What’s Next”, featuring Trez and AK, and “Soulcrush” featuring Session. The former displays a dark base track with the soul sample which has become so prevalent while Trez and AK ride the track with grimy lyrics. The latter displays Session verbally brutalizing the track with rough rhymes over a funky horn and key sample. While there are some very good songs on this album they get outweighed by the mediocrity surrounding them. The solid production from JS-1 and Dub-L is the only thing that saves some of the weaker songs; making them decent at best. It’s a nice album to have in the collection, but there are way too many skipable tracks to say it’s a go getter.

Artist: Mr. ComplexTitle: Twisted MisterRating: 4 1/2 StarsReviewed by: Dev 1 “Let me ask you a question, do you listen to hip hop?” “Who is your favorite rapper?” “Is it underground or commercial?” “Is it male or female?” This pertinent set of questions defines the intro to Mr. Complex’ sophomore long player Twisted Mister. Needless to say; the answer given by the female, to whom he asks these questions, is Mr. Complex himself. Since his days as a member of the group Polyrhythm Addicts with DJ Spinna, Apani B, and Shabaam Sahdeeq, Mr. Complex has been able to maintain a level of consistency by making his own music and bumping mikes with top tier indie artist such as Mos Def, El-P, and J-Live, too name a few. This talented artist has once again decided to grace the ears of us searching for signs of lyrical excellence and a level of complexity that transcends current trends of the commercial scene while remaining thorough and simply civilized. His healthy underground fan base intact, Complex’s new LP is sure to catch the ear of true Hip-Hop connoisseurs regardless of their commercial vs. non-commercial rap preference. “Emotional”, featuring De La Soul, serves as the perfect opening track for this album. Complex and the legendary “De La” express their sentiments about the state of the game and how they want to take it back to the essence. The hook clearly articulates the aforementioned feeling: “I just wanna reach out and lyrically touch ya/ but I feel like, I’d c### back and bust ya/ ey yo yo, its oh so emotional.” Dave (Plug 2) spits, “I fill beats up big with Shaq hands/ and wrestle your whole spot, you get pimped one two/ and if ya want to… put ya side bets up/ heads up, dice rolled, rock stone, get stuck/ and pluck the raps out ya teeth/ you popcorn while we cook rhymes/ look mines is popped warm.” Complex follows up with, “Who’s the sickest emcee to touch a mic go home and fight about it/ turn colors in the face get all tight about/ u know how many emcees a day I be waxing/ stayed tuned, I keep you abreast like… ah …Janet Jackson.” Clearly, this combination extracts, from the listener, the passing thought, “Hip-Hop is missing something nowadays…” Perhaps Twisted Mister’s greatest attribute is its simplicity. It’s not about the iced-out, hardcore, thugged out, and rimmed out jargon plus rhetoric. For example, on the DJ Spinna produced “Extra-Extra” the hook goes a little something like this: “Extra-extra, read about it/ what we don’t need we can do without it/ you wanna bring the fool out, pull the tool out/ cool out… cool out.” Of course, this track is directed to the extra hyped up party poopers that are16-years young and too rebellious to hear Mr. Complex. Nevertheless, Complex does his job by pointing the finger to the trough. But we all know, you can’t make the horse drink. This album is intricate in the sense of metaphorically inclined raps that force one to think. Yet it is simple in the context that Complex doesn’t seem bothered by current trends and could care less about how much cents and dollars he could make. As a result, the topics of living lavish and things of that nature are downplayed noticeably. Other guests appearances include Pharoahe Monch, Vast Aire(Cannibal Ox), L-Fudge, Biz Markie and Dilated Peoples. Production for Twisted Mister is executed by the likes of DJ Crossphada, Wild E. Coyote, Jocmax, Morcheeba, and others. This album should be considered a summertime classic. To say that I’m impressed is an understatement, and that’s the straight truth. From the intro to the conclusion, Twisted Mister is one of the dopest albums of the year.

Artist: Lloyd BanksTitle: The Hunger For MoreRating: 3 1/2 StarsReviewed by: Javid You can never get enough of a g-g-good thing. It appears that’s what Lloyd Banks has judging from his first solo album, The Hunger for More. Ask anyone circa 2002, what they thought of the boy wonder and you would have gotten some responses that the boy Banks is hotter than his man 50 and his combination of cold delivery and greasy metaphors, would soon make him G-units top shooter. Switch the scene to Summer 2004, G-unit’s capo has a single that is “On Fire” and turning clubs from Newark to Compton into a tizzy not seen since “In The Club” (okay, maybe not quite). Armed with more promotion than the R. Kelly tape, Banks’ long awaited album is finally here and features appearances from the whole G-unit crew as well as the mandatory Eminem feature. The album opens up with pure energy on the hyped up “Aint No Click” which features a fresh out the bing Tony Yayo contributing ad libs that contrast well with Banks’ laid back delivery. Unfortunately, Yayo’s verse is sub par and will leave you wondering if he will be able to regain his place in the Unit’s hierchy or be reduced to the crew’s street soldier/ hypeman. On “I Get High” Banks enlists 50 Cent and Snoop to tell us how he flies even when he’s not on the G-4. The Hi-Tek production seems a little too soft for Banks and caters more to Snoop’s laid back pimp than it does the laid back gangsta. Even hook master 50 Cent fails to nail it this time around. The bouncy Timbaland produced “I’m So Fly” is a definite club hit and will have thugs scuffin’ up their Timbs in the name of love or in this case being fly. One of the albums highlights features both stars of G-Unit’s new breed Banks and Buck on the amped up “Work Magic.” The combination of horns and deep bass give Young Buck an opportunity to give us a taste of Cashville and shows he can more than hold down G Unit South. Ironically, one of the albums lackluster performances is on “Warrior Pt. 2” which features the all-star line of Eminem, Nate Dogg, and 50 Cent. The guitar heavy, Eminem produced track sounds bland and would have been better suited for the 8 Mile Soundtrack. Overall, Banks’ debut is far more than you would expect from a rookie, and proves without a doubt he can hold his own. The albums main flaw is its blatant attempt to emulate the mold created on Get Rich or Die Trying. Rather than picking up where 50 left off, Banks gives us more of the same, putting his ability to develop creative song concepts in question. However, what Banks lacks is 50’s charismatic personality and knack for creating memorable hooks, leaving him to rely on his lyrical content, which is not shabby at all. Although the G-Unit empire will only grow with this release, hopefully artist will begin to stray from 50’s mold and create their own…Next stop Cashville, ten-a-key.

Artist: Slum VllageTitle: Detroit Deli (A Taste of Detroit)Rating: 4 StarsReviewed by: Matt Barone Not many groups in this rap game have had to endure as many setbacks and roadblocks as Michigan’s capital representatives Slum Village. Founding member T3 and his current partner Elzhi have weathered a long storm since 2000’s Fantastic, Vol. 2 received critical acclaim. The duo has been plagued by label drama, skepticism concerning their lyrical abilities, and member changes that would make Destiny’s Child feel a little better. Proving to be quite resilient, Slum Village’s T3 and Elzhi have taken matters into their own able hands, turning their fourth album Detroit Deli (A Taste Of Detroit) into their best effort to date. Not only is Detroit Deli the group’s strongest release, it is easily one of 2004’s most pleasant listening experiences thus far. This year’s golden boy Kanye West both produces and is featured on the smooth and breezy “Selfish”, making for the only track not blessed by Detroit’s resident production wizards Young RJ and Black, collectively known as B.R. Gunna. B.R. Gunna are just as valuable to this disc as T3 and Elzhi are, as the beat-making duo creates perfect backdrops to fit the flows exhibited by Slum Village. The beautiful blend of flutes and light percussion that grace “Closer” inspire romantic verses from SV, while veteran D-Town native MC Breed checks in to ride B.R. Gunna’s throwback funk on “Do You.” The rougher-edged beats heard on tracks like “It’s On” and “The Hours” show the versatility of B.R. Gunna, and allow for T3 and Elzhi to flex their harder lyrical muscle. T3’s gravelly voice makes his lines consistently entertaining, but Elzhi’s effortless flow and impressive wordplay anoint him as Slum Village’s top lyricist. On “Old Girl/Shining Star,” single moms are given their just due over piano keys and vocal samples, as Elzhi comforts with, “Baby daddy left you as your stomach and your breast grew, you thought he was special, only if you just knew, but you don’t need him and it sucks he ain’t leaving extra bucks, when it’s freezing, catch the bus just to feed him.” Further uplifting is practiced on “Keep Holding On,” addressing the hardships of life and how to overcome them, while original SV member and producer J Dilla joins forces with his former associates on the hypnotic “Reunion,” Elzhi’s bars stand out on this track as he directly speaks to former Villager Baatin rather candidly, only to point out that, “Believe me, me and T3 kept it low, don’t take it as a diss, this is just to let you know that I love ya.” While many had counted Slum Village out with a premature ten count, T3 and Elzhi have risen to the occasion with this undeniable album. Detroit Deli clearly demonstrates that Motown’s rap star shines past Slim Shady and his band, and defines the duo as true musical survivors. Platinum plaques may not be in Slum Village’s immediate future, but with this release, they have delivered a disc that will easily be one of 2004’s sleeper records, renewing the love of hip-hop within the lucky ears of those smart enough to invest their hard-earned funds.

Artist: SharkeyTitle: Sharkey’s MachineRating: 2 1/2 StarsReviewed by: A.P. Ghetto King General In Hip-Hop, if an artist is called diverse its usually because they are trying to crossover. Well, when it comes to Producer/DJ Sharkey, that’s not the case. Sharkey is an up and coming DJ out of DC that has taken the diversity of his hometown’s party scene and created a truly unique album, Sharkey’s Machine. This title aptly fits because it sounds as if it was recorded in a factory. Sharkey’s main Hip-Hop ingredients are break beats and heavy electronic melodies. Also included in this diverse mixture are guest appearances from Cannibal Ox, Jean Grae, Grand Puba, The Pharcyde, and Cherrywine (formally known as Butterfly of Digable Planets). The first single, “Fuzz”, is a keyboard heavy track featuring Cannibal Ox. This is Sharkey and Cannibal Ox’s statement to the world of Hip-Hop. “Fuzz” sets the tone for the ride through Sharkey’s wild machine. Other highlights include the guitar filled “Phone Sex” featuring Cherrywine and “Summer in the City” with Jean Grae (using a sample of BDP’s “Edutainment”) “Snobird” features a leaner Pharcyde and is more “new wave” than Hip-Hop. But that’s to be expected from someone as diverse as Sharkey vibing with The Pharcyde. Beyond the songs mentioned, there are a lot of instrumental tracks that may turn the average Hip-Hop head away. With co-production from Mario Caldalo Jr. (Beastie Boys) and Mickey Petralla (Beck), you get a Beasties meet the Beatles feel on these tracks. However I feel every album has its place. For Sharkey, the Machine is most fit for an ultra hip martini bar in a big city. This album is definitely not dedicated to the streets, but built more for a place where young professionals can relax after leaving their cubicles.

Artist: Most WantedTitle: Ring The AlarmRating: 3 StarsReviewed by: Jayson Rodriguez During the late ‘90s, the City of Brotherly Thugs re-introduced themselves to hip-hop with hardcore rappers such as Beanie Sigel, Murda Mil, and Major Figgas. But while those Philadelphians wallowed in their wicked upbringing, Philly’s Most Wanted got jiggy with it. Their Neptunes-produced debut (Get Down Or Lay Down) spawned two minor club hits, but when the space-aged beats came down to Earth, the duo of Boobonic and Mr. Man were seen as mere mortals buoyed by the super producers. With Ring The Alarm, Philly’s Most (now residing in the ATL) are out to prove that they can rock a party on their own. The title track (and first single) finds them at their most festive as Mr. raps: “I’m freakin’/ lifting skirts/ of bad broads on E like Brooke Burke.” On “Most Wanted Sh*t (Pimp Cup),” newcomer C4 laces the track with a wailing soul-sample by The Emotions, but doesn’t choke the vocals, giving the song a more evocative element. Boobonic then proceeds to spits more game than Lebron James. “I love being a player, but I lust the bucks/ cross n*ggas like Allen, wrong n*gga to trust.” Interestingly enough, it’s when the duo returns to the 215 that the album begins to falter. The much under-appreciated Black Thought brings the stage energy of The Roots to “Away From Here,” but Mr. and Boo can’t match the liveliness. And on “So Much Trouble (Street Money),” former A Touch of Jazz producers Dre and Vidal (Jill Scott, Musiq) provide frenzied production that would have made Swizz Beats proud—a few years ago. It doesn’t help the track either when the group delivers insipid lines such as Mr. Man’s “I’m feelin’ right so I need a left.” With Ring the Alarm, Mr. Man and Boobonic attempt to craft just about every song into a party-to-go package. Though they succeed for the most part, the only problem with this philosophy is the album is depraved of any balance. The two exceptions being “My Baby” and “Memory Lane.” It’s not like people don’t like to have a good time, but even Paris Hilton (we think) doesn’t spend all her time partying.

Artist: DujeousTitle: City LimitsRating: 3 1/2 StarsReviewed by: Paine Just as there appears to be a sampling Renaissance, there is an extension – a Renaissance of the Hip-Hop musician. N.E.R.D. finally made an imprint on the masses nearly a year after their debut release, The Roots prepare to outdo their most popular album and M.O.P. has recorded an entire album with a session Rock band. Dujeous appeals to a new, softer, side of Hip-Hop. Having made their presence known by scoring the debut season of ESPN’s “The Life”, and a steady effort on Rob Swift’s last album, Dujeous offers their debut album, City Limits to the masses at an optimal time. Being a live-band, Dujeous’ reputation has generally been grounded in their live show and music. Rheturik, Mas D, and Mojo are all very talented MC’s. Together they form a strong chemistry that allows them to trade verses without common or awkward transitions. Tracks like “Sometimes” are able to pose serious questions and show tones revealing of the group’s opinions on issues. At the same time, joints like “All MC’s” are distinctly underground, dealing with simple mic-rocking and B-Boy bravado. The chemistry of the group and connection to the music often overshadow the actual words. Instead of sharp images and driving cadences, the album sounds more song-driven, working towards the bigger picture. Despite the more professional song structure, many hooks don’t work. It’s difficult to refer back to three voices repeating four bars together as a chorus. In these moments, Dujeous falls short, just as The Spooks did for similar reasons. However, on several tracks such as “Sometimes”, there are additional song bridges that serve as stronger high points. Still, if a weak hook is the weakest link, that’s saying a great deal towards the sound foundation of all else. Musically, City Limits sets its own vibe. Despite ranging tempos, Dujeous seems to find themselves dealing in pensive, gliding tracks layered with deep strings and percussion. This is night-time Hip-Hop. The Spooks and Black Eyed Peas’ debut albums seem as worthwhile reference points here. However, the live band elements shine through more than those of the aforementioned groups. The fabulous horn section courtesy of Dave Guy brings the surface of songs like “Spilt Milk” to life. For steady and interesting percussion that defies the electronic approach, Tomek does a stellar job varying the tempo. However, while ?uestlove plays step-for-step against Black Thought’s delivery, Tomek needs to add some juice with a solo or two for the album. While it’s very instrumental, Dujeous shows their love of Hip-Hop with moving scratch sections on “Just Once” and the hot, title track proving Just One as a dope DJ. There’s very little missing in terms of the musical talent on this album. City Limits is a solid first album effort. If there is a weakest link, it’s clearly poor hooks and an abundance of attempted-conceptual interludes. This album is definitely a New York soundtrack, without brandishing that quality. While a distinct vibe is set, it’d be nice to see Dujeous step out of the box once or twice and really jam out some solos. However, this is a groundbreaking album in terms of its Jazz qualities and chilled out take on Hip-Hop.

Artist: Starving Artist CrewTitle: Up Pops The SACRating: 3 StarsReviewed by: Dev 1 We are all acquainted with Detroit by the likes of Eminem, D-12, Slum Village, and Royce da 5’9”. However there is something new brewing from the depths of the underground. Enter the Starving Artists Crew with their album Up Pops the SAC. At a time when industry heads have forgotten what steps were taken to even bring Hip-Hop to its point of world renowned commercialism, the Starving Artist Crew replenishes some of Hip-Hops sacred roots. Hailing from The Motor City; SAC provides a history lesson and demonstrates the Midwest’s ability to become a unifying medium between two coasts. They do this by paying homage to some of Hip-Hop’s most notorious legends from the east and west coast while bringing it all together to create a vintage “ol skool” album. SP, IQ, Brainstorm, and DJ Phizyx have merged to form a formidable force within today’s underground. After years of selling tapes and performing locally, SAC dropped Artistry Original in 2001 and received immediate underground recognition. Since then, in 2003, the single “Motivate”, solidified SAC’s attempts to bring the back to basics approach to Hip-Hop and also caught the eye of Fat Beats Records. It was easy to see the potential of SAC, due to their classical sound and throw-back lyrical approach. Remember when breakbeats fused with avant-garde, funk, jazzy undertones and lyrics based on “skills” (not the most materialistic item one could think of) made a dope album? Or how about the days when every other word wasn’t a curse word? Up Pops the SAC presents an important message about the love of the music and creative artistry. Not only do they break away from current commercial trends, they create crafty songs with strong vocabulary. The epitome of what SAC does is encapsulated on “B-Boy Buffet” where they big up some of Hip-Hops most historical names in order to describe dishes on a menu at a fictional restaurant. It’s original and sounds like the ultimate homage paying track by which they seek to explain the ingredients used to create a style collage of an album. The track itself should remind you of the album Low End Theory by A Tribe Called Quest or Organix by The Roots because of the use of an organ over the simplest of drum kicks. “Feed the Homeless”, “Organic Chemistry” and “Five Day Trippin” are other noteworthy tracks because of their more modernized lyrical structure. On “The Promise”, SAC shows us the art of breath control and riding beats. DJ Phizyx supplies the illest scratches that are sure to bring about a sense of nostalgia for the purest. Up Pops the SAC is a dope album, no doubt, but they could have carried out their mission without relying so much upon the strength of past sounds. Although, SAC shows flashes of lyrical brilliance, the majority of their lyrics are just too simple. SAC just doesn’t exhibit a lyrical format that shows how far Hip-Hop has progressed since the mid-eighties. The listener should not be able to say that every song on an album sounds like something of the past or combinations of different items of the past. After all, Hip-Hop is about using what is old to create something new and original. At the same time, Up Pops the SAC could be complex for one who only knows about getting crunk, sipping sizzurp, and dropping it like its hot. For the young heads that have no clue what this music is about, they should definitely cop this album; even if it serves only as a library of names and references. For those of us that grew up through the eras and phases of Hip-Hop, Up Pops the SAC may be redundant at times but since we’ve been bombarded by the present form of commercialism; it may serve to help one reflect and say “Word, those were the days!” Nevertheless, SAC is an act that possesses skills and respect for the music and Up Pop the SAC is worth adding to your library.

Artist: RJD2Title: Since We Last SpokeRating: 4 StarsReviewed by: Paine Without a doubt, RJD2 was Hip-Hop’s favorite new producer of 2002. His debut album Dead Ringer was arguably the year’s best instrumental Hip-Hop album. On top of that, RJD2 grabbed his crotch and got behind his MHz crew, producing most of Copywrite’s debut LP (The High Exaulted), plus a Soul Position EP (Unlimited EP)& LP (8 Million Stories) with Blueprint. That was then. While many raved about the fun the newest Jukie put back in the music, a lot of critics ruined the party. RJD2 was accused of riding DJ Shadow’s signature sound, and in an interview with AllHipHop.com shortly after the album was released, the producer vowed that he’d never mess with the same sound again. Since We Last Spoke may be the most suitable title for a work of hip-hop since Pete Rock & CL Smooth’s All Souled Out. RJ defied his previous critics and took his record into a new direction that may leave some scratching their heads before they actually cut the record. Since We Last Spoke is a reflection of the times. This album has the twenty something generation spoken for, musically. Songs range from one part an ode to 80’s studio rock, “Through the Walls”, to one part bargain bin soul, “Iced Lightning”. RJ adds a chunk of macho guitar riffs and classic Hip-Hop percussion to complete the ingredients. Also, expect more synthesizing this time around. RJ’s obviously listening to different records than last time. The thing is…it’s still groundbreaking. The result of RJD2’s growth affects the B-boy in strange ways. This will be the record that will get every hipster in the Village (and coffeehouse part of your city) to buy the record. But RJD2 was cherished by the Hip-Hop community first. He still provides us with “Ring Finger” – which plays the same dynamite guitar chop Alchemist used for “Big T.W.I.N.S.” on the Infamous Mobb debut. While so many discovered Blueprint and Copywrite by way of Dead Ringer, there is almost a complete absence of rapping on this album. Instead, you’ll find softly sung tunes of love and loss, overtop obscure string arrangements. In RJ’s formula, the one remaining element may very well be percussion. There is something about his drum programming that just tips the ear. It’s very crunchy drums that reflect that golden era of early-mid 70’s funk-rock. Without a doubt, this record will cause a frenzy on the dance-floor with tracks like, “Since ‘76” with hallucinogenic appeal on “Clean Living.” Hip-Hop never likes losing one of its own. Regardless of his efforts in working with Kurupt and Soul Assassins, we pretty much lost Everlast. Once he picked up the guitar and slowed the delivery, it was hard to ever have him back. RJD2 is pushing those lines. This record might lead some to believe he went into a new direction. However, tucked in between spaces – this album is a successful experiment. Plus, it’s a direct defile of the production RJ has been doing as of late. Instrumental Hip-Hop wasn’t allowed to get watered down, because one of newest power players kept the sound moving.

Artist: ConsequenceTitle: Take Em’ to the CleanersRating: 3 1/2 StarsReviewed by: 45th Street Black Throughout Kanye West’s recent ascent as a reputable rapper, Consequence has been part of his inner circle, dropping noticeable verses of his own (“Spaceship”). On Take Em’ To the Cleaners, Consequence proves his crisp rhymes bars seasoned with acerbic wit and Queens, NY refined assertiveness are worthy of Mr. West’s endorsement, and beats. Hosted by Kanye (he appears on and/or produces about half the songs), this mixtape features guests high on lyrical skill, making it essential that Quence stays on top of his rhyme p’s and q’s. That shouldn’t be a problem since he first gained notoriety after appearing throughout Tribe’s Beats, Rhymes & Life album. Very un-PC title aside, on “Wack N*ggas” over a nimble track stuffed with synth and prickly claps Consequence doesn’t let Common and Talib Kweli steal the show by dropping jewels of his own: “For all your guest appearances, you couldn’t get the clearances, for them it’s just a check they don’t respect you as a lyricist/Look at what your lyrics is, murder, death kill/But you never shot nothing, never have never will.” If Quence and his affiliates are not outright telling you how soulful their music is (“So Soulful”), you can hear it on “Getting Out the Game” which flexes the sultry strings from Al Green’s “What A Wonderful Thing Love Is.” But playas don’t love and the age-old topic of misogyny runs rampant (i.e. the raunchy 88 Keyes produced “Trains”). But instead of remaining stuck in the usual format, he adds a comical twist. On “I See Now” North Carolina’s Little Brother join Quence and Kanye over an ambient 9th Wonder production that cradles their musings on relationship killers like gold digging and post consummation weight gain. Kanye’s fingerprints are all over this disc, but Quence manages to individually assert himself, indicating that he’ll be cleaning up once his official debut arrives.

Artist: Erick SermonTitle: Chilltown New YorkRating: 3 StarsReviewed by: Javid Is hip hop really a different form of rap music? Ask the average rapper in the game for longer than a decade and their answer will probably go something like, “man, these young cats don’t know about hip hop…this started in the parks. Run DMC, Rakim, KRS, and Herc, that’s hip hop!” Now ask your average cd purchaser, let’s say a white 17 year old from Denver and his answer would probably go something like, “I don’t know but that new Fab with Christina Milian…that’s the hardest record out.” Then we have Chilltown New York-where you can still stunt with a CRX, rock fatigues with one leg up, put a house speaker in your trunk-the title of Erick Sermons latest release. Continuing a run longer than Forest Gump, E Dub is back giving us what we expect from perhaps the most bitten rapper/producer in rap music, uncompromising style. Break dancers get off your ass, for “EE’s” the closest thing you’ll hear on Chilltown to a bouncy track, featuring Sermon using creative wordplay to show us how he does this “with ease.” One of the illest songs on the album, “Street Hop” features Redman effortlessly flowing over a bassline deeper than a NYC pothole and a cut up Nas sample. Funk Doc is in rare form when he rhymes “I’m no joke/ this ain’t Hanna Barbera/ it’s the Bricks Mandela, on Anteras.” Without a doubt, the Green Eyed Bandit can hold his own, but the album’s strongest hits are those with featured artist such as “Chillin’” with Talib Kweli. Of the aforementioned, The Audio Two’s Milk and Giz would be proud of the work E Dub does resurrecting and interpolating their classic “Top Billin’”, keeping it gully for all the heads in Brooklyn. Unfortunately, despite strong guest appearances and above par production that will have you adjusting your rear view, Chilltown finishes like George Foreman in the twelfth (you do the math). Although we hate to admit it, 13 tracks of hard hitting, B-boy street records begin to seem repetitious. At least in ‘94 you had to flip the tape, but as the cd plays on the second half is noticeably weaker even with guest spots from Funk Doc, Mr. Murray, and Sermon’s latest prodigy Sy Scott. By far the albums weakest cut features a sampled Sean Paul reciting “Feel It” (the songs title) a cross between “Music” and “Gimme the Light”, that will have you wishing for a real Supercat comeback. Erick Sermon knows the rap game, and sums it up best when he raps on “Chillin’”, “Yep, he sold more records but son suck, call me washed up, yeah talk about me/ I sound like me, you sound like Jay-Z.” There is no doubt the E Dub fully understands that going this route will guarantee less sales and popularity, but at his stage in the game and with those rims (yes, pre Funk Flex) he doesn’t seem to mind. Sermon even ridicules himself in a Matrix skit where taking a blue pill guarantees less sales like himself, Smilez and Southstar (WHO?!) and taking the red pill guarantees you a wonderland with sales like Rubben Studdard and Hillary Duff. Although this new decade of hip hop has us on the G-4, with the Etro shirt and Evisu jeans, everybody has that pair of yellow Timbs, and when you lace those up, roll thru Chilltown.

Artist: JadakissTitle: Kiss Of DeathRating: 4 StarsReviewed by: Matt Barone Whether or not Jadakiss possesses an abundance of lyrical skills has never been the question that has plagued the Yonkers-bred member of the Lox. For skeptics, the main reason why Jada hasn’t been able to reach superstar status is his limited subject matter, rarely opening up while frequently covering familiar topics such as gunplay and battle-threats. His solo debut Kiss The Game Goodbye did little to advance the self-proclaimed ‘Black Babe Ruth’ into the game’s commercial elite, as Jadakiss tried to please too broad a spectrum of listeners rather than providing a more intimate portrait of Jason Philips (his government name). Thankfully, he seems to have taken all of this into account, because his second solo-go-round Kiss Of Death effectively shows off facets of the MC’s abilities that have been dormant. Simply put, those filled with that unfortunate four-letter ‘H’ word would have to search long and hard for reasons to pan Jadakiss’ solo endeavors again. While Kiss Of Death will undoubtedly spark slight anger from Jada’s street-corner following due to some high-profile collaborations, J-A-D-A has put together a solid album that appeals to all audiences and exhibits our host at his best. He gets his grown man on for the Anthony Hamilton-assisted “Why”, offering deep social and personal introspection over a beautifully constructed Havoc instrumental comprised of soft bells and percussion. Further self-examiation takes place on “Bring You Down” and “Still Feel Me”, while he teams up with Mariah Carey on top of Scott Storch’s seductive flutes for the formulaic yet catchy “You Make Me Wanna”. Fellow Lox member Styles makes sure his brother doesn’t completely abandon the group’s signature hardcore sound though, servicing the violent hook on “Kiss Of Death”, and flawlessly tag-teaming with Jadakiss over Elite’s devastating arrangement of electronic guitars and pounding bass on the blazing “Shout Outs”. A perfect rap album is extremely hard to come by this day in age, unfortunately, and Kiss Of Death falls victim to this sad truth. “Hot Sauce To Go” is as unappealing as its title, suffering from a bland Neptunes beat and an equally forgettable Pharrell-delivered hook about (surprise!) female bottoms. Hearing Jadakiss spit over a Kanye West production seems like a sure-fire banger, but “Getting’ It In” is a missed opportunity due to sub-par verses and a beat that was most likely salvaged from West’s cutting room floor. A second dream-collaboration gone sour is ‘Welcome To D-Block”, a track that does find all three Lox members and guest Eminem in top vocal form, but disappoints with its mediocre audio backdrop and awkward chorus. By the time the heartfelt “I’m Going Back” concludes Jada’s sophomore effort, those who have been waiting for him to bless ears with a truly focused album will place Kiss Of Death in their CD players for months to come. Proving that his rhymes have matured just as much as the man himself, Jadakiss has finally capitalized on his God-given gifts and crafted a well-rounded collection of honest music. If growth continues within Kiss, then that allusive ‘perfect album’ previously mentioned might not be far away, but for now, Kiss Of Death is a must-have release that should help place Jadakiss amongst rap’s current elite without any argument.

Artist: 8 Ball & MJGTitle: Living LegendsRating: 4 StarsReviewed by: Javid When Eightball and MJG first signed to Bad Boy Records it was like Karl Malone going to the Lakers, you knew he’d been doing it for a minute but how would he fit on the leagues shiniest team. How would Malone the all-star veteran who never won that ring he so desired, do on the Lakers, the team known for being flashy, young, and most importantly winning championships? By now some of you non-basketball heads are lost (sorry…its playoffs) but Ball & G are back with their latest CD Living Legends [cue “yeah-yeah, take that” ad libs from P. Diddy]. The dirty south is on fire right now and everyone from Usher to Janet Jackson has been sipping on crunk juice, but Ball & G give you that and more on this latest release. The album’s first single “You Don’t Want Drama” comes across as the typical crunk club record with a heavily bass influenced sound coupled with a chorus about bussin’ heads and shooting up clubs. Although the aforementioned single comes across as cliché, on “Straight Cadillac Pimpin” Ball & G take it back to their essence, giving you the streets uncut, still managing to do it the playa way. MJG opens the song with fire boasting “I’m so cold I need a coat in the kitchen…/I wrote compositions that make n##### wish they never spoke what they was spitting” over a beat that sounds like your choir humming. One of the highlights is when Ludacris steals the show on “Shot Off”, giving props to his favorite rappers and carrying the torch for Southern rappers who win because of their lyrics. The beat is hard, but bouncy enough to let Eightball make being shot off another song for St. Louis folk to do the chicken head to. The album’s main sore spots are obvious attempts by Diddy to get the duo some female (i.e. Radio) love on “Trying to Get at You” and “Baby Girl.” These cuts may please those who like their warm milk on the rocks, but the formula seems forced and placing them back to back on the album interrupts its flow. Despite those setbacks the Ball & G save the album with bangas such as “Forever and “We Do It” which will impress Henny swiggers and sizzurp sippers alike. Who knows if they will ever win the championship and be crowned Kings of the South but on Living Legends Eightball and MJG show they can still turn the club to a mosh pit without sacrificing their lyrical content. One thing is certain the self proclaimed “shiny suit man” knows how to pick winners and it seems he may strike gold with his latest acquisition of these southern legends, hopefully his cosigning will finally get the northern heads to listen. Pimp hard…pimp harder!

Artist: M.O.P.Title: The Mash Out PosseRating: 4 StarsReviewed by: Remmie Fresh I’m no workout fanatic, but I’m trying to get better. Whenever I did workout, it was driven by hardcore music. In the early 90’s I was driven to lift weights by the Geto Boys and their superior brand of gangsta/shock rap (“Mind of a Lunatic”). During that period, I never threw up so much iron. I slumped in the mid-90s (d##### Ma$e), but in the later part of the decade, it was DMX and Ja Rule’s gravely voices that motivated me to take on boxing and slug it out. For the most part, Hip-Hop’s gone soft in recent years thanks to all these heartthrob gangsta rappers. Fortunately, I recently started training like Arnold Schwarzenegger preparing for “Conan the Barbarian.” Thanks MOP. The Mash Out Posse’s latest foray into hardcore comes in the form of a self-titled heavy metal outing, the result of a collaboration with Brooklyn rockers Shiner Massive. The album is a collection of covers and also some wholly original songs – most of which are bound to resurrect the mosh pit in rap. (In my case, the death of my gut.) The 13-cut album is a clinic on how to rock hard without compromising anything Hip-Hop. This is Run-DMC and Aerosmith. This is Public Enemy and Anthrax. This is Ice-T and Bodycount. This ISN’T Limp Bizkit and Method Man. (No disrespect Meth! You too Primo.) As emergency sirens shriek, the album leaps into the mosh with “Conquerors” and MOP’s William Burkowitz (normally known as Billy Danz) and Fizzy Womack (Lil’ Fame) pummel the heavy guitar backdrop. When paired with Shiner Massive, MOP don’t change their hip-hop head banger ethic, they take it up a notch. This refusal to change manifests itself best on “Get The F**k Outta Here,” one of the albums most potent joints. As if possessed, Fizzy spits, “You in a headlock position, my name ain’t Richie Rich/ Be a ni**a, deal with ya s**t, stop acting b##### b####/ …I’ll brass knuckle your face/ Bust ya snot box might even have to pop shots/ that’s how O.G.’s do it on my block.” Oftentimes, the relentlessly, brutal guitars drown out the rap pair – but not often. The Mash Out Posse fares much better than their first attempt at metal, 1998’s Handle Ur Bizness EP. Then the group mixed keyboard instruments with live ones with equally mixed results. In 2004, they hit the bullseye with a hollow point bullet destroying the target. Other like-minded songs including “Put It In The Air,” “Stand Up,” “Robbin’ Hoodz” [Ante Up] and “Fire” prove to be more than ample for frat boys looking to burn off some energy. There are no down sides to The Mash Out Posse, truth be told. The only adverse point is a few of the newer songs fail to match the originals. For example, while the first “Ground Zero” was basically a mixtape joint, its ancestor isn’t as developed or as durable. And “Hilltop Flava,” a play off the Beastie Boys’ “No Sleep ‘Til Brooklyn,” only makes you want to hear MCA, Ad Rock and Mike D’s mic antics. Nitpicking aside, MOP’s mentality has gone from gangsta to trendsetters. Hip-hop is waning and it’s high time that crews take some risks, sweat a little and give the people their money’s worth, on stage and on wax. Now, let me get back to my own sweaty workout.

Artist: Masta KillaTitle: No Said DateRating: 4 StarsReviewed by: Matt Barone Maintaining a level of obscurity amongst his more outgoing Wu-Tang Clan brethren, Masta Killa has remained the legendary group’s silently consistent representative. Appearing on the majority of his fellow Clan members’ solo projects, a guest verse from this monotone-pitched MC is like a stamp of pure Wu-tang authenticity. While Clansmen like Method Man and The RZA have gained acceptance by stepping out from behind the large ‘W’ shadow, Masta Killa has demonstrated strong loyalty to the Clan and its devoted fans, making the long-overdue release of his official solo debut No Said Date all the more important for the future of the Wu. This album is finally seeing record store shelves after years of speculation and release delays (which the Masta cleverly nods to by titling it No Said Date). Rather than recruiting outside producers and guest artists, Masta Killa has kept it all in the family, utilizing vintage Killa Bee production from The RZA, True Master and Mathematics. Listening to this overall solid album will inspire warm sentiments of the days when the Clan formed like Voltron on each individual project. Masta Killa, while possessing a notable amount of skill, has never been able to grace the masses with classic quotables, so having the Wu ride shotgun on No Said Date is a smart move, one that proves to be the album’s strongest point. When left by his lonesome, Masta Killa does show and prove nicely, kicking more of his complex wordplay with the same deadpan pitch he has flaunted since 1993. Tracks like “Last Drink”, “Grab The Mic”, and “Digi Warfare” keep it simple, placing pounding instrumentals behind MK as he fires his verbal darts. Speeding up the haunting strings heard on Outkast’s “Skew It On The Bar-B” (which featured Raekwon), RZA injects some newfound energy into Masta Killa on the title track, rhyming with a quicker and effective delivery. He even displays his softer personality traits on the soulful and romantic “Queen”, bringing listeners back to the days when Ghostface compared his women to Camay. While he proves that he is fully capable of pulling off a solo LP, Masta Killa is still at his best alongside his Shaolin counterparts. Raekwon and Ghostface flex their metaphorical muscle on the blazing head-nodder “D.T.D”, while Killah Priest and a rejuvenated Method Man damn near short circuit their respective microphones over True Master’s crackling pianos on “Secret Rivals”. Sampling from the classic TV sitcom ‘Sanford and Son’, RZA concocts a light-hearted and funky track for himself, Masta Killa, and the glorious return-to-form ad-libs of Ol’ Dirty Bastard to shine on “Old Man”. With it’s laidback ruggedness courtesy of the aforementioned True Master, though, “Silverbacks” may be the album’s audio climax, with Masta Killa, Inspectah Deck and the Gza all in top form serving up one of tightest all-Wu bangers in years. For lifelong Wu-Tang supporters, listening to No Said Date is the audio equivalent to an 8-year-old’s Christmas morning. Don’t get it twisted, though, because this disc packs enough sure-fire winners to please anyone looking for a solid rap record. Playing the album straight through without any skipping is made easy thanks to the consistent stream of musical heaters. While some may become bored with Masta Killa’s subdued vocal nature, he gives his fans exactly what they wanted, resting comfortably in his Killa Beehive. No Said Date most likely will repel off of the Billboard charts, but it should momentarily silence skeptics who have written of the Wu-Tang Clan as fallen legends in the rap game.