Review: Raekwon, "Only Built 4 Cuban Linx II"

Raekwon
“Only Built 4 Cuban Linx II”
(Icewater)

It’s funny that when people who are held in high regard and hit a bit of a stumble are forced to go back to the well. Unfortunately, Wu-Tang’s gulliest member, Raekwon, has had to be that guy. Arguably, Rae has the strong solo album under his name, 1995’s “Only Built 4 Cuban Linx…” Featuring strong guest appearances from all the members of the Wu, as well as Nas, the street-dubbed Purple Tape is heralded as a hip-hop classics.

In subsequent years, Raekwon’s been chasing the strength of “Cuban Linx” and oftentimes with underwhelming results, as is such on “Immobility” and “The Lex Diamonds Story.” While Rae’s partner, Ghostface Killah, has become the most popular solo member of the Wu (Method Man notwithstanding), the Chef has toiled away regaining relevancy with a string of YouTube covers and signing with Dre’s Aftermath imprint.

Unsurprisingly, Dre dropped Raekwon (like he did with Rakim and Lord knows who else); undaunted, Raekwon formed his own label (Icewater) and put out the sequel to “Cuban Linx” himself.

Since 2006, tracks have slowly leaked online and many of them do not appear on this album, which is probably why “Cuban Linx II” sounds so fresh.

The album’s full opener, “House of Flying Daggers” is a return to form for the hungry Wu rappers going over a Dilla beat. The Pete Rock-produced “Sonny’s Missing” is complimented with Marley Marl’s interlude, “Pyrex Visions.”

The dreary Motown vibe of “Cold Outside” is one of the album’s strongest tracks with Suga Bang singing the hook. In fact, I would go as far to say that it’s the definitive moment of the record – Raekwon and Ghostface trading narrative barbs while the horns recall early RZA production techniques.

It’s too early to tell if “Cuban Linx II” will match the popularity and success of its predecessor, but it’s definitely one of the best hip-hop records that’s come out in sometime, as well one of the most gratifying Wu albums in general.

Fun while it lasted...

I haven't had the opportunity to write about "Ashergate 2009" recently, but here's the quick rundown:

My least favorite rapper, Asher Roth, played at Rutgers and tried making light of last years Don Imus/Nappy Headed Hoes comment. Obviously, this did not play out very well. But to give my archnemesis the benefit of the doubt, he was trying to lampoon Imus. Fair enough. Then Roth is quoted in Pitchfork as saying "You guys (other rappers) are disgusting." Again, in all fairness, he was talking about the plight of Africans and how American rappers tend to spend their money. This coming from a guy who basically glorifies date rape on his single about college and used the release date 4/20 as his marketing ploy.

Huh.

Eskay and the Nahright crew weren't having this and issued a Roth ban until homedude apologized, which he did, assuming that Steve Rifkind threw a chair at him or something that he picked up from working with ODB or MOP.

Personally, I think the whole thing was blown out of proportion to a certain degree. More than anything, however, I doubt Asher Roth -- as a white kid from an affluent suburb -- is in any position to talk about how rappers who have typically come from places of poverty should spend their money. Yes, I am being a hypocrite here since superficial musical acts are usually who I talk shit about the most, but given the nature of my upbringing, I feel like I have a much better grasp on the socio-political implications than some severely mediocre college rapper. I'm just sayin'.

That being stated, I'm actually a little bummed that the Roth ban is lifted. The reality is that if the ban had stayed in place, Roth already has such a following (there's no accounting for taste) that just because a singular hip-hop website (even if it's the best one) stops posting about him, it won't hurt his career among fans -- only credible hip-hop heads. Which, as I write this, was probably the point all along. Oh well.

BAN ASHER ROTH!

National Biggie Day

Over a decade ago, we were robbed of one of my favorite rappers of all time, Notorious BIG. Who knows how many more incredible songs this man could've had, as well as the high standard in major label hip-hop that would've continued on. Instead, we have mediocre dudes like Jay-Z and T.I. to look up to. Here are some of my favorite Biggie songs, enjoy:

Party and Bullshit (from the Who's the Man soundtrack; there's also a sick Lord Finesse Remix of this track)


Juicy (Pete Rock Remix)


Ten Crack Commandments


Warning


Junior MAFIA feat. Biggie - Get Money


Jay-Z feat. Biggie - Brooklyn's Finest


Who Shot Ya (for some reason, only the instrumental version and freestyles could be found, but if you dig around, you'll find it; ill beat by D.dot, though)

Finally! The Hipster Rap Backlash Gains Traction!

For the longtime readers of this blog, it's no secret that I've long hated the bullshit acts collectively known as hipster rap. M.I.A., Asher Roth, Charles Hamilton and the ilk are something left to be desired; and not to sound like an old man, but seriously, people who buy rap records and have no idea who Big Daddy Kane is need to get checked. Preferribly by Group Home. With a metal pipe.

I know that there are other heads who've shared my disdain for this subgenre that requires its fans to wear bright neon colors and all-over print hoodies. Chicago's Japcity took one of the first aggressive stances and recently, Termanology released the super dope, "Tight Pants are for Girls."

The other day, I was reading Nahright.com and there was a single video clip, no explaination for Big City Philadelphia's "How to Rob an Industry Hipster."

Using an old 50 Cent beat, Big City Philly launches into this killer song that -- if it gets popular -- will have Asher Roth's dumbass trying to suck up to M.O.P. to be his bodyguards or some shit. Now I will never condone violence or abuse on any level, it's just not my style, but if simply threatening people through a satirical track will get them to stop making crappy rap songs, then fuck it, I'll co-sign Big City Philadelphia.

Review: Lil Wayne, "Prom Queen"

I guess this Lil’ Wang song wasn’t as terrible as I thought, but it’s still pretty bad. I feel like somewhere out there, Papa Roach should be readying a lawsuit of some sort. Between the vocoder usage and the fake guitar playing, Lil’ Wayne should seriously consider giving Mannie Fresh a call to hook him up with some circa-98 beats. In these trying days of terrible hip-hop, they would come off on some Pete Rock shit.

Breaking News: Jay-Z is Boring!

[Hat Eats Jay-Z; Sauce Money Releases Diss Track]

Jay-Z briefly woke up from his coma of being married to one of the most stunning women on the planet and counting his collection of Fabrege eggs to perform at President Obama's inaugriation ball last night and played a rather subdued, if not totally boring, performance.

I would like to say that he was playing up for the suits, but let's face it, Jay hasn't done very many good records as of late. His last listenable track, "Brooklyn Go Hard," was okay, but it's not on par with "Brooklyn's Finest" or "4 Alarm Blaze;" hell, even "Change Clothes" was pretty good.

I realize that at this point in his career, Jay-Z the rapper is secondary to Jay-Z the celebrity, but if you're famous for being a musician, you should at least practice your craft and try to sound interesting, it's how LL Cool J has managed to stay relevant (not to mention look eternally young) for so long.

2008 Rewind: Music Sucked; if it were a Child, it Should Be Put into Time-Out

It’s been a minute since I did these of the year recaps, but it allows me to take a breath and look at everything that was wrong with the calendar year so we can avoid it at a later date, so let’s get to it.

Gym Class Heroes put out another record that I would typically lampoon, except for the fact that compared to other rappers, Travis McCoy doesn’t actually sound that bad. Here is a list of “rappers” that are worse than McCoy:

Lil’ Wayne
T-Pain
Asher Roth
Kanye West
The Cool Kids
Etc.

For every Wale, Ludacris or Jake One record that came out, there were about five mixtapes that sucked terribly and have no reason to be associated with hip-hop in anyway. I actually thought that 2008 would have a sense of promise as Blu and Exile release a very sick record, as did Little Brother. But instead, it’s just another year of mostly shitty albums and some good ones sprinkled in between.

It wasn’t just hip-hop that sucked this year, though. Rock music took a very giant hit to the face as musical abortions, Brokencyde, Millionaires and Cash Cash continue a reign of terror that will ensure a new generation of fresh-faced teens to turn into 20-something douchebags whose sole goal is to stay stagnant in a suburban nirvana of extending their collective childhood.

Brokencyde, for those of you who aren’t in the know, is a crunk/screamo band. Yes, finally!!! Someone has taken the two worst musical offshoots in the last six years and combined them so we can only have one band to hate! Thumbs up…no wait, thumbs way down. Brokencyde – with their neon colored shirts and stupid haircuts – remind me of the kind of dudes who own like three rap records, but who are generally afraid of Black people. I’d be willing to bet that the reason they got on this gimmick is because they couldn’t find a drummer.

Millionaires is basically a rip off of Fannypack, with some really young looking girls fronting the group wearing what you would expect from an American Apparel ad. I believe there are two reasons why this group is popular: one, they’re “hot” (by generic scene standards, I guess); two, nobody remembers Fannypack.

Cash Cash isn’t worth any mention beyond my feelings that they’re really, really awful.

All that being said, I’m holding out hope for 2009. One of the most underrated emcees of all time, Freeway, has been throwing out some serious jams lately, as has Big Pooh from Little Brother.

The hardcore band, Horizon, put out a pretty awesome demo and Boston’s A Loss for Words has something bubbling for the new year. All in all, 2009 could possibly erase all the crap we’ve had to put up with, or just turn into another year of stupid music.

Chasing Coolness Doesn’t Understand the Appeal of Asher Roth; White People in Uproar

I never really understood what makes Asher Roth better than, let’s say, Prozack Turner, RA the Rugged Man, Miilkbone or a host of other white dudes who rap whose names aren’t Eminem or Vanilla Ice (that comparison was way too easy). In many ways, I should probably like Asher Roth just based on the fact that he looks/acts like the kind of guy I would hang out with. Except for the fact that that spot is already filled by my friend Corey Ball.

Unlike Corey, Roth doesn’t have a grasp on golden age classics (like the first three Tribe records) and most appalling of all is that his introduction to hip-hop was “Hard Knock Life.” Really? Hard Knock Fucking Life? This dude probably never heard of MOP prior to “Ante Up.”

But as is such, Asher Roth’s backpacker appeal with his Target model good looks has made him a lusted object for bloggers who are too afraid of Scarface to listen to real rap music and chicks who heart Danity Kane (or what’s left of them). Roth’s greatest asset is that he’s the semi-legit/edgy rapper that is there for when non-hip-hop rap fans are ready to graduate from MC Lars and MC Chris to something a little bit more substantial, which Roth is, particularly compared to the other two.

Yet sucky is sucky and I can’t deny that I would much rather listen to someone like Crooked I or Joe Budden than this lame ass carbon copy of the dudes from Lexicon.

The Problem with the Wu

I was fucking around on Nah Right earlier and I saw that there's yet another new Ghostface Killah disc coming out this week. Didn't he just release a new one last year? I'm a fan of Tony Starks and all, but can't we get a proper release date for Raekwon's Dr. Dre-produced "OB4CL2." I realize that for his sheer charisma alone, Ghostface is probably the most likeable member of the Wu, especially since RZA is pretty crazy and Method Man is too busy acting. But that's no excuse to flood the market with throwaway discs. While I have enjoyed "Fish Scale," it pales in comparison to Masta Kila's "No Said Date." Though this little rant has me thinking that a new Inspektah Deck solo album might receive a fairly warm welcome.

Top 15 Records of 2008

Every year I do this stupid list and this year, I was hard pressed to find anything decent that I immediately fell in love with. There were some fairly decent records, though.

1. Nas, "The Dreaded N-World/Untitled"
2. The Loved Ones, "Build and Burn"
3. 2*Sweet (RIP), "Sleep without Dreams"
4. Brighten, "Early Love EP"
5. City and Colour, "Bring Me Your Love"
6. Wale, "The Mixtape About Nothing"
7. Jake One, "White Van Music"
8. Solange Knowles, "Sol-Angel"
9. Horizon, "Demo 2008"
10. LaGrecia, "On Parallels"
11. Anthony Green, "Avalon"
12. Empires, "Howl"
13. Crime in Stereo, "Selective Wreckage"
14. A Loss for Words, "Webster Lake"
15. Gaslight Anthem, "The 59 Sound"

Review: Kanye West, "808s and Heartbreak"

Taking a page from Roger Troutman (R.I.P.), Teddy Riley and Snoop, Kanye "Ye" West's newest album, "808s and Heartbreak" recalls the pinnacle of 80s and 90s R&B, utilizing the titular 808 drum sounds that was perfected by the likes of Riley, Jimmy Jam and Terry Lewis and Al B. Sure. That being said, this is probably the worst Kanye West record of all time.

I'm not sure how he went from being an underground sensation, producing for the likes of the Molemen to putting out a shit taco of an album. Now to be fair, the songs aren't terrible, but I think they would be better suited for dudes like Ne-Yo or Chris Brown, you know, guys who can actually sing.

West's voice is masked by autotune and a fucking vocoder so much that he totally sounds like a robot. I asked for an album, not "Wall-E," dude. Given the nature of the album and West's tepid attempt to be a hip-hop/R&B star (like R. Kelly), this album pretty much sucks. I don't give a shit what Pitchfork, EW or Newsweek or whoever says. From a hip-hop fan's perspective, this is on some "Blood Money" level of terrible. A turd with a bow tied around it is still a turd, guys.

SoulSchool Remixes

This morning I was listening to one of the most underrated winter albums (more on this later), The Beatnuts' "Stone Crazy," when I was compelled to find the video for "Do You Believe," when I came up something labelled as a "SoulSchool Remix." Like most videos and random remixes you find on YouTube and MySpace, I didn't expect much, but the remix was actually pretty awesome. I listened to more of these remixes and I was pretty impressed. In the last few years, my favorite hip-hop producers have been these bedroom DJs who've recalled the halcyon days of people chopping up their own beats on shitty Tascam and Fostex 4-tracks and not overhyped names that shall currently remain nameless. Anyway, here are my favorite of the SoulSchool remixes.

Nas feat. Q-Tip, "One Love"


Big L, "Put it On"


Alicia Keys, "You Don't Know My Name"


Masta Ace, Buckshot and Special Ed, "Crooklyn Dodgers"


Beatnuts, "Do You Believe"


related links:
SoulSchool Myspace

Full Circle

My first official published review for the Seattle Times' Mirror was a review of this really lackluster album that MC Breed put out back in 1996. It was so great that the disc had a date with Cellophane Square a few years later. Anyway, I was uploading a ton of shit onto my iPod the other night and I came across the best MC Breed song of all time. Recognize:

Common (Sense) vs. K-Salaam & Beatnick

Nahright.com posted this video earlier that features a new remix of Common's seminal 1994 single, "I Used to Love H.E.R." by K-Salaam and Beatnick. Overall, it's not bad. I think that I'm pretty much in love with the O.G. version and it's a hard act to follow, particularly since it's had years to find a place in everyone's heart. Shit, it was even the basis for that underrated Taye Diggs movie, "Brown Sugar."

Still, this is a hard-hitting joint and I'll actually give it a pass because the duo rework the song enough without completely bastardizing it. That being said, I won't be too happy if someone decides to take a stab at "93 Till Infinity."

Summer Jams Video Series: Dove Shack, "Summertime in the LBC"

Does this video even need an introduction? Dudes, it's "Summertime in the LBC!"

TOMORROW NIGHT!!! MORE PROMOTION!!!1!

TOMORROW NIGHT!!! @ Chop Suey, 9 pm, $5, 21+
“Basement Sessions” Release Show featuring:

• Dawhud (my favorite emcee since Skee-Lo!)
  
• Nam (proprietor of 2-0-sick)
  
• Can U (kick it? yes, we can)
  
• The Let Go (like the Ultimates, but not…)
  
• Likeminded (Burien duo’s reunion performance. Bill Nye the Science Guy meets Styles of Beyond)
  
• Hosted by: Luvva J (best stage name since Mike Hunt)
  
• DJ’d by: Ryan Fresh (former ITF Contestant, mixtape fanatic and Gilmore Girls fan)
  

FLAVALICIOUS 95!! (I mean, 2008!)

NEW MIXTAPe! y0! Download it!!!

1. Jackson 5, “It’s Great to Be Here”/Intro
2. Bad Boy All Stars, “All About the Benjamins”/Love Unlimited, “I Did it For Love”
3. Blackstreet, “No Diggity (Ryan Fresh remix)”
4. Vybe, “Warm Summer Daze”
5. Nas, “If I Ruled the World”
6. Pete Rock & CL Smooth, “I Got a Love”
7. Showbiz & AG, “Soul Clap”
8. Classic Example, “It’s Alright”
9. Mariah Carey & Ol Dirty Bastard, “Fantasy (Bad Boy Remix)”
10. Gangstar/Nice & Smooth, “DWYCK”
11. 7669, “Joy”
12. 702, “Where My Girls At?”/Outro

Review: Nas, "Untitled"

Nas
“The Unmentionable N-Word Album aka Untitled”
(Def Jam)

Nas hasn’t been a fresh voice for at least 14 years, but nonetheless, when you hear his slight raspy vocals, you know you’re in for a treat. As I was commenting to a friend last night, even Nas’ terrible records, would be a mediocre record for another rapper. I think it’s safe to say that there will never be another “Illmatic.” It doesn’t matter if he titles his next album “Nas-matic” or “Killmatic” or “I Need to Milk Nostalgia to Feed my Kids-matic.” The idea that a 30-something Nas will sound just as hungry as a 19 year old version of himself is absolutely silly.

Because of this notion, the litmus test on grading Nas has shifted the last five years; it’s become less about whether he can recreate the magic of an early 90’s hip-hop opus, and whether he’s still relevant and topical. That being said, “Untitled” might be one of the best of Nas’ recent releases.

The album’s proper starter, “You Can’t Stop Us Now,” is pretty much what you’re going to get throughout the record – thought provoking lyrics, crushing samples and the addition of great guest artists (in this case it was Eban Thomas of the Stylistics and the Last Poets). The generic production on “Breathe” makes it trite enough for radio airplay and the incendiary “Sly Fox” will have you asking for INS to deport Rupert Murdoch.

The legend of Nas is not only cemented in the fact that he’s the only lasting heir apparent to Rakim, but that his career changing approach to becoming a commentator to rile up Americans everywhere allows him to avoid becoming a shell of his former self. Unlike his contemporary, Jay-Z, Nas hasn’t concentrated on backdoor corporate deals (FILA sponsorship notwithstanding) or tried to crafted a boring concept album based on a movie that nobody saw – he wants people to know that he’s pissed, and that THEY should be pissed, too.

Overall, the production on “Untitled” is uneven – at times there’s a lot of promise and other times, it falls pretty flat. But Nas has steered himself to the point where it’s not really about the production, but rather about what he’s saying over those jumbled samples and drum loops that makes all the difference. Nas may be one of the few rappers who could get away with rapping over the most terrible beat in the entire universe and still walk out with his career intact.

“Untitled” is not “Illmatic” or even “It Was Written,” but it’s still worth a listen, particularly if you’re seeking a soundtrack for these turbulent political times.

Bonus Video:

Be a (Dreaded N-Word), Too [Unreleased]

Busta "Roid Rage" Rhymes Ethers That Guy from Gym Class Heroes; the World Isn't Surprised

The new Gym Class Heroes song, "Peace Sign/Index Down" features Busta Rhymes, who's probably the most notorious guest rapper for ether-ing you on your own song, bested perhaps by Ol' Dirty Bastard, who -- unlike 2Pac -- didn't record enough material to see posthumous guest vocals outside of Rhymefest's buttercup joint. Don't worry, Travis, it's a rookie mistake.


Gym Class Heroes getting Sonned by Bussa Buss "That Song About a Middle Finger"


Craig Mack featuring Biggie, Rampage, LL and Busta, "Flava in Ya Ear (Remix)"


B-Real, Coolio, Method Man, Uncle L, Busta Rhymes, "Hit Em High"


Tribe Called Quest featuring Leaders of the New School, "Scenario"


Every Popular Rapper from 1994/95, "The Points"

MC Offensive Name Sons Your Favorite Rappers

Some emcee colorfully named Japcity has a song called "Operation: Purse Snatcher," which is basically a seven minute Lil' Wayne diss. Chock full of homophobic and racial slurs, I can hardly call it the greatest hip-hop song of all time, but at the same time, Lil' Wayne sucks.