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Sure SHot Singles 8/96 Part I

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Oliver Wang

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Aug 19, 1996, 3:00:00 AM8/19/96

A note from tha DJ O-D.U.B. and NY's Finest...Mercer: Hey, this is the
new home for Finishline and the Sure Shot Singles. For those that have
checked out Sandbox but are here at O's site for the first time, well,
you've been missing out. Anyway, the two of us decided to merge our
reviews together in order to keep all the bases covered, and we think
you people visiting will benefit the most.

Look for this on the WWW every week: http://www.igc.org/ollie/singles.html

Peace!

Mercer
O-Dub

> This is the fly sh*t that you seek...Mista Lawnge
>
> Ras Kass: Soul on Ice
> ----------------------------------------------------------------------
>
> 2 Face "NYC/Hey, Hey, Hey" (Blindside BSR004)
>
> O-D.U.B.: Great stuff from L-Swift and A Butta from the Natural
> Elements camp...but why is it on a UK label? No matter, NYC is a great
> anthem for the city...the Creators whip up a nice jazzy track on both
> sides and L Swift has impressed me since his 12" came out almost a
> year back. The Natural "E" is definitely coming to blow things up in
> 96...check for this 12" and peep for yourself.
>
> ----------------------------------------------------------------------
>
> Adagio! "The Obvious Joint/Ass & Benefits" (Emo Recordings EMO-001)
>
> Mercer: Representing Philly, recorded in Long Island, mastered in New
> Jersey and distributed from upstate Pelham! With all the miles
> involved in making this record, I'm glad to note that it's all worth
> it to the listener. Adagio is down the The Juggaknots, and while I
> don't see any distinct audio similarities, at least everyone involved
> in this project has good ideas about coming correct. Built upon old
> string samples and a simple drum track, solid lyrical diversity
> combines creative flow, a few interesting similies and general
> mic-rocking skills while staying down to earth. For side B, "Ass &
> Benefits" is composed with a ukelele-type loop and mellow keys,
> setting the stage for a rhyme about the ladies (rather than TO them.)
> Basically it's a continuation of the debate that inspired past hits
> like "Funky Dividends" and "Keepin' The Faith", and it's worthy to go
> next in line.
>
> O-D.U.B.: A strong indie effort out of the East Coast...after a recent
> string of less-than-inspiring 12"s (see V Max Records for example),
> Adagio! has a nice single on his hands. "The Obvious Joint" has that
> NYC production feel to it and good lyrics to boot, whereas the B-side
> has dope production, but not-as-dope lyrics...all me jaded, but I'm
> getting sick of songs that constantly disrespect women...and while
> "Ass and Benefits" might all be in good fun, it's hard to feel like
> that after a while.

> ----------------------------------------------------------------------
>
> Akinyele "Put It In Your Mouth" EP (Stress/BMG 72445-11142)
>
> Mercer: Loud said "no thanks." Geffen probably said "we'll put it
> out...soon." While that was going on, it appears Stress Entertainment
> got the ball rolling first, punching out a 5-cut EP for the price of a
> 12". Now, between Ak, the Kool G Rap of late and years of gangsta
> rhyme influence "from NY to Cali", it's a shame that B.W.P. ain't
> around any more to represent the opposite sex just as raw. Regardless,
> demand for the politically incorrect X-rated shit is back up and any
> label in its right mind is going to cash in. However, this resurgence
> tastes slightly different from the late 80's sex and guns bragging
> that produced more laughter than it did hard feelings. Now in '96
> where reality lines are the norm, exactly what kind of lifestyle is
> Akinyele talking about?
>
> Whosever's anthems these songs are trying to be, nothing is really
> justified based on the quailty of prodution. While guys like Frankie
> Cutlass and Dr. Butcher are known for the occasional hit, neither them
> or anyone else come up with any track magic on this record, lyrics
> aside or not. Even the upcoming EZ Elpee can't come hard (maybe he
> wasn't very inspired by the title "Thug Shit".) Large Professor's
> beats on the original "In The World" might have been nice, but he got
> lifted in favor of a much lamer version conjured up by Jiv Pos and DJ
> Enuff.
>
> All this comes back to the oratory content. I mean, no radio station
> is going to play it in good taste, and I feel sorry for the kids who
> feel the need to blast this out of a box or ride, especially something
> like "Fuck Me For Free". Not to say that this won't be a big
> underground thing anyway, but coming out of New York I'm going to have
> to bow my head.
>
> ----------------------------------------------------------------------
>
> "America Is Dying Slowly" LP (EastWest 61925-1)
>
> O-D.U.B.: Not as good as it looks, but still good. It's a hard album
> to necessarily recommend EXCEPT for the fact that it does go to a good
> charity. AIDS awareness is important, no matter what venue it comes
> through. Musically though, I thought a lot of the album was overrated.
> Tracks I'd recommend though:
> * O.C.-What I Represent: DOPE cut. One of the best I've heard all year
> on a couple of levels. Buckwild's production was hittin' and O.C. just
> drops some great rhymes about the state of hip hop. Definitely a
> butter joint.
> * Common and Sean Lett-I've Been Thinking: Not bad...No ID's
> production wasn't as good as stuff on the last album, but it was all
> right. I liked both sets of lyrics, and Sean Lett came off with a cool
> set that speaks to his young daughter. But, he does sound a lot like
> Common flow like... Still, a decent track.
> * Biz Markie and Chubb Rock-No Rubber, No Backstage Pass: Not a great
> cut, but I dug on Prince Paul's production and both Biz and Chubb had
> some goods lines...mostly, Biz gets over on his flow...I still think
> the man mutters the same sh*t everytime he touches the mic.
> * De La Soul-The Hustle: Not bad...Da Beatminerz track wasn't very
> impressive (what's UP with them of late?) and lyrically, it's not as
> good as what' s on "Stakes is High". Decent, just not grandiose.
> * Organized Konfusion-Decisions: (see 12" review for Mobb Deep's
> "Street Life")
>
> So yeah...overall, I don't think this is the soundtrack/compilation o'
> the year. I thought a lot of the tracks I could've lived without, but
> there's definitely some quality stuff on here too.
>
> Mercer: While not a movie soundtrack, it's still a collection of
> rappers all trying to speak upon a similar theme, and if you tend to
> buy into the hype that usually surrounds these kinds of projects,
> you've probably been burned a few times over the last few years.
> Instead of hoping for the perfect zone where artists can come through
> musically AND stay relevant to the subject matter imposed upon them,
> it's best to just make sure the good stuff outweighs the bad. Now,
> based on the 4-5 promos put out before the commercial release,
> "A.I.D.S." was a toss up. But after going through the 16 total tracks
> and disregarding the obvious throwaways, this compilation does bring
> out some quailty from the remaining people involved.
>
> The strongest overall I think is O.C. and Buckwild's "What I
> Represent" (aka "Love And Affection".) The last time these two met in
> the studio it was solid gold, and lightning can strike twice. Buck
> loves throwing smooth vibraphones in his tracks and hacks it just as
> well here, against the man Born 2 Live, who can't help but kick your
> ass lyrically with little effort.
>
> The next slot could either be Mobb Deep's "Street Life" (coming as a
> single?) and De La's "The Hustle". Both work very well, but little
> lapses in flow and repetitive tracks might not stand the test of time.
> For now they're excellent models of each group's overall sound beyond
> the albums, as both selections are clearly overproduced compared to
> their trademark styles.
>
> Finally, don't count out Money Bass Players, whose "Games" snuck onto
> the B-side of the Eightball & MJG promo. With only one indie 12" on
> their resume up until now, MBP is definitely on the rise, plus they
> have the hardest hitting cut on this entire album - courtesy of
> Minnesota, who is also on the industry bubble.
>
> ----------------------------------------------------------------------
>
> Bahamadia "Paper Thin" (Chrysalis SPRO-11621)
>
> O-D.U.B.: This is a cover of an old MC Lyte song and while I know some
> aren't really into covers...I thought this was kind of tight. The old
> school track works real well with Bahamadia's flow...and lyrically,
> it's just damn good to hear someone gives props to MC Lyte as one of
> the original femme fatales. It's a promo joint for heads-only
> according to sources but some stores might carry it on the strength.
>
> Mercer: I don't think I've heard a word-for-word "cover rap" before
> until this. Unlike other genres, there are problems giving tribute to
> someone else rhymes, becuase rappers tend to throw things into the mix
> like their own name, the year, their hometown, etc. which may or may
> not correspond with the person redoing the song. In this case,
> Bahamadia was able to switch around the few words pertaining to MC
> Lyte and formulate it to herself without coming off awkward. As for
> preference, I'm going to stick with the original becuase Lyte is the
> natural brag-rapper to fit the lyrics, while the new version sounds a
> little forced for a headz-type MC. Besides, "Paper Thin" represents
> one of many peaks of Lyte's career, and Bahamadia has yet to prove her
> staying power beyond "Total Wreck." It's still a great honor to one of
> the great female MC's and maybe the start of an interesting concept.
> This is all the taste people are going to get, though, as this 12"
> likely won't go beyond promo - plus Chrysalis is probably way over
> budget on Bahamadia's overall investment.
>
> ----------------------------------------------------------------------
>
> Busta Rhymes "Woo-Hah!! Got You All In Check" UK (Elektra EKR220T)
>
> Mercer: I think I found out about this a little late, but this record
> never really made it to the US in a big way. Half of the mixes are
> also on the regular domestic 12", but the other three (two by the
> trip-hop uprising Fila Brazillia) have distinctly different flavors
> than the played-out video game production that's been rammed down our
> throats the last few months. I've written before about these European
> instrumentalists shaking up the American hip-hop market one day, and
> this 12" proves that day won't be much longer. The strongest
> interpretation is "Fila Mix 3", featuring a whiney, melodic synth loop
> against a choppy beat that only trip-hop guys can come up with. "Fila
> Mix 4" has the same bassline but the rest is broken down to just drums
> and a short electric guitar sample, almost coming off as rock-n-rap
> RUN-DMC style. Purists will REALLY choke hearing the Origin Unknown
> Mix, which is essentially "Busta goes jungle". No, he doesn't rhyme to
> drum & bass (awwwww...), it's mostly instrumental with elements of
> Rashad Smith's original track. I mean, I don't even think it's _good_
> jungle. Regardless, had this shown up on the domestic single, there
> might have been riots back home in Strong Island. Luckily, it appears
> only a scant number of copies were able to be smuggled out of England,
> where musically open minds still rule.

> ----------------------------------------------------------------------
>
> Busta Rhymes "It's A Party" (Elektra 0-66023)
>
> Mercer: Whoopee-doo, another Busta single! Actually, only two 12"s
> made it all the way to the shrinkwrap machine, but guys serviced with
> promos must have thought Elektra was trying to outsell the Fugees or
> something. "The Coming" did end up going platinum, but I wouldn't want
> to find out what the profit margin was. Considering that there's 11
> (!) tracks on this maxi-vinyl, why didn't they just sell the whole
> album for $5 as well? I might even have bought it then.
>
> Anyway, if you weren't one of the 50,000,000 lucky people to pick up
> advance copies of this or the B-side "Ill Vibe", not to worry since
> the retail version ends up being a pretty good deal. Plus, only the
> black covers have all the new remixes, highlighted by AllStar's
> "Party" featuring SWV. No apologies to the purists, but this one is
> lots of fun, livelier than the original, and deserves the mainstream
> exposure - hey, like the title says! In fact, the other remix by The
> Ummah backfires because of this, as it's no use giving a street taste
> to what's obviously a rump shaker. Similar effect for the reworking on
> "Ill Vibe" - I mean, can something be TOO Tribe for their own good?
> The remix track is sloppy as hell compared to the LP version, which
> was decent using a light, three measure loop.
>
> Take it as you will, but this is definitely recommended higher as an
> R&B single than a straight hip-hop one. Busta had this coming I think.
>
> ----------------------------------------------------------------------
>
> Choclair "Just A Second/What It Takes" (Knee Deep 101)
>
> Mercer: This guy did an okay job sharing a 12" with Canadian big man
> Saukrates a few months back. Must have got to this guy's head since
> now he's got a solo single hoping to match the slightly above average
> cut that was "21 Years" (which at least had some intelligence and
> self-awareness to it.) "Just A Second" is a very paltry attempt to
> switch to brag style, talking about prowess with the ladies but
> ignoring the extremely weak production by "12-inch" (yes, that what he
> calls himself.) Regular beatsman Day helps bring things back to earth
> on the other side, which has more competent lines on the level of old,
> but also has some unnecessary female chorusing and a repetitive sample
> loop that gets tired halfway through the song. What's the reaction? Go
> fish.
> ----------------------------------------------------------------------
>
> Cypress Hill "Unreleased and Revamped" EP (Ruffhouse)
>
> O-D.U.B.: I suppose die hard Cypress fans will want to sink their
> teeth into this one. Overall, it's not a bad EP...the Prince Paul
> "Latin Lingo" remix was dope...and the "Throw Your Hands In the Air"
> remix w/ Erick Sermon wasn't burnt toast neither (though I would have
> rather had "Hand on the Glock"). The two new tracks are
> ok..."Intellectual Dons" has Call o' the Wild and the vibe-y, string-y
> Muggs track (I assume) is better than much of what's on "Temple of the
> Boom". "Whatta You Know" should've been out on the second
> album...interesting sh*t that samples Issac Hayes' "Walk On By", just
> like Biggie had on "Danger". Not a bad cut...curious that they left it
> unreleased. Lyrically, all of this is pretty classic Cypress
> Hill...which can be good or bad depending on your frame of reference.
> On the flip-side, a lot of the remixes were no big deal back when they
> were released...the Blunted remix of "Kill a Man" is noticeably
> missing...that was a better than, for instance, that Fugees remix of
> "Boom Biddie Bye Bye".
>
> ----------------------------------------------------------------------
>
> Da Great Deity Dah "Life Or Death" EP (Damola DS007)
>
> Mercer: How does that Nike commericial go? "Look out honey cause we're
> using technology..." Well, this guy obviously isn't, but he turns out
> to perform just as well as on a recording that would cost a lot more
> to do. With all the bad frequency response, hissing there and muffling
> there, most of the tracks probably weren't done in a high tech studio,
> or anything close. But taken all that in account, how much did it
> matter? Not much really, as this turns out to be an underground gem
> that gives hope to all the kids with hip-hop skills but think they
> need 48 digital tracks to come off phat.
>
> This record wastes no time either - boom! - hitting big immediately
> with the Holy Eucharist Mix of the title track. A potential MC anthem
> ("my mic check's life or death",) the track by Decomposed effortlessly
> bounces from start to finish using a two-chord piano loop and drums
> heavy on high frequencies. In fact, the cut is so bright that there's
> quite a bit of distortion in the background which may or may not get
> to you. Dah's flow is simple in theory but he also throws in the
> occasional big vocabulary a la Keith Murray, and overall has very few
> dull moments in his verses. The Hades Mix keeps the bouncing drum feel
> but switches to a cool bassline, allowing you to really hear DJ
> Eskimo's scratching between rhymes, but also the very brief lyrical
> lapses during them.
>
> The flat-sounding "Dapper, A Nappy Headed Undergound Rapper" may not
> have any treble response, but it's actually just as good as the stuff
> that comes before it. The relaxed feel helps to spur a rhyme so smooth
> and mellow that could be mistaken for Rakim, and simple string and
> guitar samples never intrude. "Mind Skills" sounds like something
> composed spontaneously, giving a short freestyle appeal to the A-side.
>
> "Middle Passage" opens up the flipside with Eskimo cutting over a
> chopped up "Impeach The President" which eventually adds a three-note
> bassline. Guest rhymers the Mystical Pharohs, unfortunately, come up
> kinda wack. Next track, the slow-rolling tutorial "How To Author A
> Great Rhyme" ironically is the weakest cut on the EP. Finally, "Live
> Freestyle @ Flava 1580" shows that Dah isn't ready for the battle
> circuit quite yet. However, I'd let this guy record his writtens
> anytime, anywhere, as he's proven to kick dopeness whether it's on
> metal tape or masking tape.
> ----------------------------------------------------------------------
>
> Dead Poetz Society "Klockuz/Lick A Shot" (Challys DSE-0901)
>
> Mercer: A whole bunch of Brooklyn kids come together on this record,
> led by MC/producer/engineer 7STORM8. His verse is one of three heard
> on "Klockuz", which has a cool melodramatic feel and very competent
> rhyming about "the warzone of Crooklyn", complete with tick-tocks in
> the background of the chorus. Four other MC's are featured on "Lick A
> Shot", a similar reality/represent theme. Neither the original nor the
> Slomo remix are as strong as the lead cut, but it appears the rapping
> is just as noteworthy for its consistency and flow. With at least
> seven voices in the mix including a producer who can bring it all
> together, Dead Poetz Society is an indie crew to be reckoned with.
> ----------------------------------------------------------------------
>
> De La Soul "Stakes Is High" UK (Tommy Boy TBV 730)
>
> O-D.U.B.: The UK remix is NICE...guitar licks and all...I was
> definitely a fan of it...except that the snare kick intro is murder to
> mix in... The Spinna remix wasn't all that impressive...very vibe-y
> but overall kind of empty too. It's just not very catchy and even
> though I didn't like Jay Dee's original track that much either, at
> least I remembered it. Still, the UK remix is a good enough joint.
>
> Mercer: I think the remixes on this 12" are on the domestic CD single,
> but if you want them on wax you gotta get the import. The Album
> Version is still my favorite though - the song only seems to impact
> fully using the three-measure loop and "desperation time" track. The
> "UK Full Length Remix" has an pleasant guitar loop which is great, but
> I swear the acapella sounds off against the new drum track a number of
> times and really annoys me. If you heard the remix first before the
> original, then maybe you won't feel it, but I'll never know. The DJ
> Spinna Extended Remix is similar to his other Beyond Real productions
> - bassy organs and ambient electronic samples. Despite good efforts,
> however, neither remix cuts it long term as far as I'm concerned.
> ----------------------------------------------------------------------
>
> DJ Sizzahands "Soul-O-Joyntz" & DJ Eclipse "Give Da DJ a Break" (AV8)
>
> O-D.U.B.: Two relatively new AV8 break 12"s...AV8 really continues to
> impress me with the quality of their break singles...clearly, they
> cater to Djs only, but as a DJ...hey, that's my sh*t! "Soul..." is
> more smooth, as the name suggets and Eclipse, who works at Fat Beats
> in NYC, puts his own project together with some tight sampling and
> catchy breaks. They work really well in most mixing
> situations...either as filler or just on their own.
>
> ----------------------------------------------------------------------
>
> Heather B. "Takin Mine/My Kinda N*gga" (Pendulum SPRO-11620)
>
> O-D.U.B.: Much as I might like to, I have a hard time getting into
> Heather B...mostly b/c she sounds a lot like a wanna-be hardcore MC,
> out-testoroning peeps like Nine with twin glocks. Not that she's wack,
> but it's like, why bother? Women have a hard enough time making it in
> the rap game, why go out like the next gun-toting brother? I don't her
> to go pop, don't get me wrong...but I wouldn't mind her using her
> vocal skills for something more original. Anyway, the A-side has a
> radio friendly track though her vocal delivery makes crossover pretty
> damn hard in any environment. The B-side is a bit better...at least
> she's compliment by equally ruff n' rugged rhymers in the form of MOP.
> The deep bass track by Kenny Parker (is it me or do both and his
> brother always use the same formula?) gets a head nod. Overall, "All
> Glocks Down" was still her pinnacle...this is ok, but not that big of
> a deal.
>
> Mercer: I'm confused here. Pendulum could have put out "Da
> Heartbreaka", "What Goes On" or even "Sendin 'Em Back" - anything to
> keep Heather B's line of nut-cracking shit going after "All Glocks
> Down" and especially "No Doubt." Instead, they do the "Perfect Match"
> maenuver, flipping 180 for a single that softee on one side,
> wanna-be-hardee on the other. I think EMI was trying to do the same
> thing with Bahamadia, flicking her from rough to smooth like a switch.
> But "I Confess" pretty much bombed, and even the recent remix 12"
> didn't turn too many heads. So is Heather doomed to repeat the same,
> releasing the fluffiest A-side to date? Maybe M.O.P. can save the 12"
> on the posterior, but if guys like Onyx taught anyone anything, it's
> that hardcore is defined by lyrical content, not who can scream
> incoherently the loudest.
>
> ----------------------------------------------------------------------
>
> Innersoul "It's the Right Time" (Mix-It-Up)
>
> O-D.U.B.: This 12" is starting to make some noise on Billboard...but
> overall, I'm not too wowed over by it...the lyrics, while decent,
> aren't too memorable...and the production on the main mix is in the
> same boat. Only the remix really catches some flavor, thanks to a nice
> jazzy track that held my attention. You'll probably be hearing more of
> this as the summer plods along so don't trip if you haven't seen it
> yet.
>
> ----------------------------------------------------------------------
>
> Jay-Z "Can't Knock the Hustle" (Roc-A-Fella)
>
> O-D.U.B.: Man...and I thought "Ain't No N-" was radio-friendly...guess
> Jay Z one upped himself on this aimed-for-plat-status single. I'm not
> hating on it either...it flows well...I'd dance to it in a club and
> Mary J sounds good. It's not a hip hop classic by any means, that's
> for sure... Take it for what it's worth...
>
> ----------------------------------------------------------------------
>
> Kool G Rap & DJ Polo: Lifestyles of the Rich and Famous (Cold
> Chillin')
>
> O-D.U.B.: Dope beat...that was the first thing that hit me. Definitely
> a party track, but not so crossover to start making the
> wack-intolerant get ill. Being that I'm not a G Rap fan since back in
> the days, I don't know if this is a new track or an old track...either
> way, I could dig on it. This type of rhyming about wealth seems more
> comical than anything else, though if you want some bang-bang action,
> you could always blow the dust off of "4,5,6".
> ----------------------------------------------------------------------
>
> Labtekwon "I Am Here" (Assassin)
>
> O-D.U.B.: This is an older single, but I just got it...so that's why
> it's here. The A-side track has an ill drum track that catches your
> attention...and then the rhymes drop. I think some people are too keen
> on the opening lyrics, "I'm in synch...with Cinco De Mayo", but it
> gets better. The B, "No Time To Chill" starts with this bluesy guitar
> loop that sounds like theme music from "NY Undercover". Lyrically...it
> sounds like he's rhyming through a papertube but other than those
> weird acoustics, it's decent sh*t. It's hard for me to get too hype on
> it, but it has its merits.
>
> ----------------------------------------------------------------------
>
> Lace Da Booms "Cut That Weak Shit/Ain't No Secret" (Guesswild GW1008)
>
> Mercer: Good, strong Brooklyn indie here. You're first drawn to mixes
> of "Weak Shit" featuring Quasi Mode and Royal Flush (including
> versions by Buckwild and Obsession,) but my favorite ended up being
> "L's Version" which has Lace all by himself proving his worth pretty
> resoundingly. The sample line from BDP's "We In There" works great
> between verses on the smooth soulful track, which is actually jacked
> from some classic record which I can't seem to remember right now
> (Kane used it on "Young Gifted And Black".) However, good production
> seems necessary for this guy, who doesn't come off nearly as well on
> the B-side done by Domingo. Overall the record is above average, with
> every cut possible for local radio (and more) in one way or another.
> ----------------------------------------------------------------------
>
> LMNO "Hit the Fence" (Up Above)
>
> O-D.U.B.: LMNO didn't pick up very many fans with his verses on
> "E=MC5"...and as much as I want to support this label...I can't say I
> feel this new 12" at all. LMNO's flow just does not work for me...I
> think he overennuciates to the point of defeat. It's a shame too b/c
> if you really listen to what he's rhyming about, it's good sh*t...in
> many ways, his content and verbals are cool, but his delivery is what
> needs retracking.
>
> ----------------------------------------------------------------------
>
> Mobb Deep, L.E.S. and A.C.D.: Street Life b/w Organized Konfusion:
> Decisions (EastWest ED-5870)
>
> O-D.U.B.: Man...Mobb Deep is almost like Wu Tang in terms of how much
> they produce/put out, but at least the RZA changes his sh*t up. If I
> hear another Mobb Deep track in the next month, I'm going to start
> having the drink away the pain of another MB-cloned track. Granted,
> they're sh*t isn't wack...but it all REALLY starts to sound
> redundant...they use the same damn elements everytime. Moreover,
> lyrically, I don't know when the last time was when they didn't rhyme
> about the street life. They should have just named the 12", "More of
> the Same Life".
>
> Luckily, the Organized Konfusion track rescues this from becoming
> another wortheless 12" from the "America Is Dying Slowly" LP. I wasn't
> that big of a fan of this cut b/c the production was just a little too
> R&B flavored...but I have to give credit to OK for coming with some
> intense lyrics. They're flow is still one of hip hop's
> untouchables...break neck speed yet still with clarity and
> intelligence.
>
> ----------------------------------------------------------------------
>
> MOP "Stick to Ya Gunz/Brownsville" (Relativity)
>
> O-D.U.B.:This Brooklyn crew is still asking if you want some
> hardcore...and even if you didn't, you're gonna get it anyway.
> Personally, I really wanted to like some of this 12", especially with
> Premier's skills on at least one of the tracks...but the lyrical
> content sounds so redundnat in this day and age that I couldn't really
> get into it that deep. Both tracks pump the same Mac-10 mentality...is
> this what I'm really supposed to be checking for in 96?
>
> ----------------------------------------------------------------------
>
> Mountain Brothers EP (Magnificent Butcher MBP1996)
>
> O-D.U.B.: While NYC and LA are busy busting lyrical shots at each
> other, Philadelphia is quietly reemerging as one of hip hop's core
> centers. Thanks to the work of folks like the Roots and Bahamadia,
> Iladelph's influence is expanding and bring more heads above ground.
> The latest Philly group to come up is doing so on the strength of
> their first vinyl project after years of paying dues on the low. The
> trio of Peril, Styles and producer/rhymer Chops, better known
> collectively as the Mountain Brothers have already gotten national
> exposure through a Sprite radio drop, but that's the closest they come
> to anything "commercial".
>
> Thanks to long, hard time spent working on their rhyme skills, the MBs
> share a chemistry rare among many other hip hop groups. More than just
> good flow though, their content demands close listening as they drop
> rhymes on money-mentalities and blind MCs as well as your basic
> braggadocio. Chops deserves extra credit for lively tracks that don't
> use any samples, just talent for splicing together jazzy beats. Rumor
> is that major labels are taking interest and no surprise. The MBs
> represent themselves and their city something lovely...climb up and
> taste the flavor.
> ----------------------------------------------------------------------
>
> Nas featuring AZ "Life's A Bitch" remix/Funkdoobiest "Dedicated" remix
> (blank label ECL001)
>
> Mercer: I liked this one, though I have no idea who did it or when it
> actually came out. "Life's A Bitch" flips on "Everybody Loves The
> Sunshine" and a loud, simple drum track that makes my head bounce. The
> flow never drags or rushes, so either the lyrics were perfectly
> compatible by luck or they did a good job on the boards. "Dedicated" isn't that strong to begin with, but the producers do their job by enhancing the track to try to make some sort of impact. Son Doobie will still get to your nerves after a few listens
. Good to note that unlike some of the other blank labels out there,
this baby comes with both instrumentals, nice touch.

End Part I

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<html> <title>Sure Shot Singles</title> <body link=#006600"> <body
text="#FFFFFF"> <body vlink="#FF0000"> <body bgcolor=000000> <CENTER> <IMG
Align=Top SRC="http://www.igc.apc.org/ollie/sss.gif" alt="Sure Shot
Singles"> <h2>now featuring</h2><img
src="http://www.inch.com/~mercer/finish4b.gif" alt="Finishline"></CENTER>

O-D.U.B.: Hiya...welcome to the Sure Shot Singles review section. I try
to update this page as soon as I have enough singles on hand to add at least half
a dozen new entries. The rating system is pretty easy. If it's in bold,
I recommend that you look for it. Everything else is at your discretion. Don't
forget to look at the new album reviews section below.

Mercer: Hey, this is also the new home for Finishline. For those that have
checked out Sandbox but are here at O's site for the first time, well, you've
been missing out. Anyway, the two of us decided to merge our reviews together in
order to keep all the bases covered, and we think you people visiting will
benefit the most. Now, while I don't like to provide ratings for individual
songs, you will find that I've provided 20-second WAV sound files for a lot of
noteworthy cuts. This way you can listen and make conscious decisions on your
own.

O-D.U.B.: For past Sure Shot Singles...The <A HREF ="groove.html">
Groove Yard</A> is for older singles or one's that I think have cooled off a
bit but still have some flavor. In general, if there's a single that you're
curious about and that you don't see on my lists, <a
href=mailto:ol...@igc.apc.org>email me</a> about 'em.

Mercer: If you want to read more Finishline for some reason, my last
column dated <a href="http://www.inch.com/~mercer/Finish.html">July 2</a> is back
home on my own server. At the bottom of that page is an index of all the older
editions, including the Interactive Reviews archive.

<hr><h2><img src=new.gif>Introducing <ul> <li><a href=notes.html>Notes on
the Run-Hip Hop Version</a>: Listen to O-D.U.B. run his mouth about the current
state of hip hop. Updated...whenever.

<li><a href=album.html>Long Playing</a>: Album reviews </h2> </ul> <hr>
As of August 15, 1996<IMG SRC = "updated.gif">

<IMG Align=Top SRC="noise.ln"> This is the fly sh*t that you
seek...Mista Lawnge

Ras Kass:<a href=ras.html> Soul on Ice</a>

<hr>

2 Face "NYC/Hey, Hey, Hey" (Blindside BSR004)

O-D.U.B.: Great stuff from L-Swift and A Butta from the Natural Elements
camp...but why is it on a UK label? No matter, NYC is a great anthem for the
city...the Creators whip up a nice jazzy track on both sides and L Swift has
impressed me since his 12" came out almost a year back. The Natural "E" is
definitely coming to blow things up in 96...check for this 12" and peep for
yourself.

<hr>

Adagio! "The Obvious Joint/Ass & Benefits" (Emo Recordings
EMO-001)

Mercer: Representing Philly, recorded in Long Island, mastered
in New Jersey and distributed from upstate Pelham! With all the miles involved in
making this record, I'm glad to note that it's all worth it to the listener.
Adagio is down the The Juggaknots, and while I don't see any distinct audio
similarities, at least everyone involved in this project has good ideas about
coming correct. Built upon old string samples and a simple drum track, solid
lyrical diversity combines creative flow, a few interesting similies and general
mic-rocking skills while staying down to earth. For side B, "Ass & Benefits" is
composed with a ukelele-type loop and mellow keys, setting the stage for a rhyme
about the ladies (rather than TO them.) Basically it's a continuation of the
debate that inspired past hits like "Funky Dividends" and "Keepin' The Faith",
and it's worthy to go next in line.

O-D.U.B.: A strong indie effort out of the East Coast...after a
recent string of less-than-inspiring 12"s (see V Max Records for example),
Adagio! has a nice single on his hands. "The Obvious Joint" has that NYC
production feel to it and good lyrics to boot, whereas the B-side has dope
production, but not-as-dope lyrics...all me jaded, but I'm getting sick of songs
that constantly disrespect women...and while "Ass and Benefits" might all be in
good fun, it's hard to feel like that after a while.

- Adagio <a href="http://www.nyu.edu/pages/minetta/mercer/ssobvious.wav">The
Obvious Joint</a> [239K] - Adagio <a
href="http://www.nyu.edu/pages/minetta/mercer/ssbenefits.wav">Ass & Benefits</a>
[247K]

<hr>

Akinyele "Put It In Your Mouth" EP (Stress/BMG 72445-11142)

Mercer: Loud said "no thanks." Geffen probably said "we'll put
it out...soon." While that was going on, it appears Stress Entertainment got the
ball rolling first, punching out a 5-cut EP for the price of a 12". Now, between
Ak, the Kool G Rap of late and years of gangsta rhyme influence "from NY to
Cali", it's a shame that B.W.P. ain't around any more to represent the opposite
sex just as raw. Regardless, demand for the politically incorrect X-rated shit is
back up and any label in its right mind is going to cash in. However, this
resurgence tastes slightly different from the late 80's sex and guns bragging
that produced more laughter than it did hard feelings. Now in '96 where reality
lines are the norm, exactly what kind of lifestyle is Akinyele talking about?

Whosever's anthems these songs are trying to be, nothing is really justified
based on the quailty of prodution. While guys like Frankie Cutlass and Dr.
Butcher are known for the occasional hit, neither them or anyone else come up
with any track magic on this record, lyrics aside or not. Even the upcoming EZ
Elpee can't come hard (maybe he wasn't very inspired by the title "Thug Shit".)
Large Professor's beats on the original "In The World" might have been nice, but
he got lifted in favor of a much lamer version conjured up by Jiv Pos and DJ
Enuff.

All this comes back to the oratory content. I mean, no radio station is going to
play it in good taste, and I feel sorry for the kids who feel the need to blast
this out of a box or ride, especially something like "Fuck Me For Free". Not to
say that this won't be a big underground thing anyway, but coming out of New York
I'm going to have to bow my head.

<hr>

"America Is Dying Slowly" LP (EastWest 61925-1)

O-D.U.B.: Not as good as it looks, but still good. It's a hard
album to necessarily recommend EXCEPT for the fact that it does go to a good
charity. AIDS awareness is important, no matter what venue it comes through.
Musically though, I thought a lot of the album was overrated. Tracks I'd
recommend though: <li>O.C.-What I Represent: DOPE cut. One of the best I've
heard all year on a couple of levels. Buckwild's production was hittin' and O.C.
just drops some great rhymes about the state of hip hop. Definitely a butter
joint. <li>Common and Sean Lett-I've Been Thinking: Not bad...No ID's
production wasn't as good as stuff on the last album, but it was all right. I
liked both sets of lyrics, and Sean Lett came off with a cool set that speaks to
his young daughter. But, he does sound a lot like Common flow like... Still, a
decent track. <li>Biz Markie and Chubb Rock-No Rubber, No Backstage Pass: Not a
great cut, but I dug on Prince Paul's production and both Biz and Chubb had some
goods lines...mostly, Biz gets over on his flow...I still think the man mutters
the same sh*t everytime he touches the mic. <li>De La Soul-The Hustle: Not
bad...Da Beatminerz track wasn't very impressive (what's UP with them of late?)
and lyrically, it's not as good as what' s on "Stakes is High". Decent, just not
grandiose. <li>Organized Konfusion-Decisions: (see 12" review for Mobb Deep's
"Street Life") So yeah...overall, I don't think this is the
soundtrack/compilation o' the year. I thought a lot of the tracks I could've
lived without, but there's definitely some quality stuff on here too.

Mercer: While not a movie soundtrack, it's still a collection of
rappers all trying to speak upon a similar theme, and if you tend to buy into the
hype that usually surrounds these kinds of projects, you've probably been burned
a few times over the last few years. Instead of hoping for the perfect zone where
artists can come through musically AND stay relevant to the subject matter
imposed upon them, it's best to just make sure the good stuff outweighs the bad.
Now, based on the 4-5 promos put out before the commercial release, "A.I.D.S."
was a toss up. But after going through the 16 total tracks and disregarding the
obvious throwaways, this compilation does bring out some quailty from the
remaining people involved.

The strongest overall I think is O.C. and Buckwild's "What I Represent" (aka
"Love And Affection".) The last time these two met in the studio it was solid
gold, and lightning can strike twice. Buck loves throwing smooth vibraphones in
his tracks and hacks it just as well here, against the man Born 2 Live, who can't
help but kick your ass lyrically with little effort.

The next slot could either be Mobb Deep's "Street Life" (coming as a single?) and
De La's "The Hustle". Both work very well, but little lapses in flow and
repetitive tracks might not stand the test of time. For now they're excellent
models of each group's overall sound beyond the albums, as both selections are
clearly overproduced compared to their trademark styles.

Finally, don't count out Money Bass Players, whose "Games" snuck onto the B-side
of the Eightball & MJG promo. With only one indie 12" on their resume up until
now, MBP is definitely on the rise, plus they have the hardest hitting cut on
this entire album - courtesy of Minnesota, who is also on the industry bubble.

<hr>

Bahamadia "Paper Thin" (Chrysalis SPRO-11621)

O-D.U.B.: This is a cover of an old MC Lyte song and while I know some aren't
really into covers...I thought this was kind of tight. The old school track
works real well with Bahamadia's flow...and lyrically, it's just damn good to
hear someone gives props to MC Lyte as one of the original femme fatales. It's a
promo joint for heads-only according to sources but some stores might carry it on
the strength.

Mercer: I don't think I've heard a word-for-word "cover rap" before until
this. Unlike other genres, there are problems giving tribute to someone else
rhymes, becuase rappers tend to throw things into the mix like their own name,
the year, their hometown, etc. which may or may not correspond with the person
redoing the song. In this case, Bahamadia was able to switch around the few words
pertaining to MC Lyte and formulate it to herself without coming off awkward. As
for preference, I'm going to stick with the original becuase Lyte is the natural
brag-rapper to fit the lyrics, while the new version sounds a little forced for a
headz-type MC. Besides, "Paper Thin" represents one of many peaks of Lyte's
career, and Bahamadia has yet to prove her staying power beyond "Total Wreck."
It's still a great honor to one of the great female MC's and maybe the start of
an interesting concept. This is all the taste people are going to get, though, as
this 12" likely won't go beyond promo - plus Chrysalis is probably way over
budget on Bahamadia's overall investment.

<hr>

Busta Rhymes "Woo-Hah!! Got You All In Check" UK (Elektra
EKR220T)

Mercer: I think I found out about this a little late, but this record
never really made it to the US in a big way. Half of the mixes are also on the
regular domestic 12", but the other three (two by the trip-hop uprising Fila
Brazillia) have distinctly different flavors than the played-out video game
production that's been rammed down our throats the last few months. I've written
before about these European instrumentalists shaking up the American hip-hop
market one day, and this 12" proves that day won't be much longer. The strongest
interpretation is "Fila Mix 3", featuring a whiney, melodic synth loop against a
choppy beat that only trip-hop guys can come up with. "Fila Mix 4" has the same
bassline but the rest is broken down to just drums and a short electric guitar
sample, almost coming off as rock-n-rap RUN-DMC style. Purists will REALLY choke
hearing the Origin Unknown Mix, which is essentially "Busta goes jungle". No, he
doesn't rhyme to drum & bass (awwwww...), it's mostly instrumental with elements
of Rashad Smith's original track. I mean, I don't even think it's _good_ jungle.
Regardless, had this shown up on the domestic single, there might have been riots
back home in Strong Island. Luckily, it appears only a scant number of copies
were able to be smuggled out of England, where musically open minds still
rule.

- Busta Rhymes <a
href="http://www.nyu.edu/pages/minetta/mercer/sswooha2.wav">Woo-Hah!! Got You All
In Check (Fila Mix 3)</a> [247K]

<hr>

Busta Rhymes "It's A Party" (Elektra 0-66023)

Mercer: Whoopee-doo, another Busta single! Actually, only two 12"s made it
all the way to the shrinkwrap machine, but guys serviced with promos must have
thought Elektra was trying to outsell the Fugees or something. "The Coming" did
end up going platinum, but I wouldn't want to find out what the profit margin
was. Considering that there's 11 (!) tracks on this maxi-vinyl, why didn't they
just sell the whole album for $5 as well? I might even have bought it then.

Anyway, if you weren't one of the 50,000,000 lucky people to pick up advance
copies of this or the B-side "Ill Vibe", not to worry since the retail version
ends up being a pretty good deal. Plus, only the black covers have all the new
remixes, highlighted by AllStar's "Party" featuring SWV. No apologies to the
purists, but this one is lots of fun, livelier than the original, and deserves
the mainstream exposure - hey, like the title says! In fact, the other remix by
The Ummah backfires because of this, as it's no use giving a street taste to
what's obviously a rump shaker. Similar effect for the reworking on "Ill Vibe" -
I mean, can something be TOO Tribe for their own good? The remix track is sloppy
as hell compared to the LP version, which was decent using a light, three measure
loop.

Take it as you will, but this is definitely recommended higher as an R&B single
than a straight hip-hop one. Busta had this coming I think.

- Busta Rhymes <a
href="http://www.nyu.edu/pages/minetta/mercer/ssparty2.wav">It's A Party (AllStar
Remix featuring SWV)</a> [251K]

<hr>

Choclair "Just A Second/What It Takes" (Knee Deep 101)

Mercer: This guy did an okay job sharing a 12" with Canadian big man
Saukrates a few months back. Must have got to this guy's head since now he's got
a solo single hoping to match the slightly above average cut that was "21 Years"
(which at least had some intelligence and self-awareness to it.) "Just A Second"
is a very paltry attempt to switch to brag style, talking about prowess with the
ladies but ignoring the extremely weak production by "12-inch" (yes, that what he
calls himself.) Regular beatsman Day helps bring things back to earth on the
other side, which has more competent lines on the level of old, but also has some
unnecessary female chorusing and a repetitive sample loop that gets tired halfway
through the song. What's the reaction? Go fish.

- Choclair <a href="http://www.nyu.edu/pages/minetta/mercer/ssittakes.wav">What
It Takes (featuring Jully Black)</a> [243K]

<hr>

Cypress Hill "Unreleased and Revamped" EP (Ruffhouse)

O-D.U.B.: I suppose die hard Cypress fans will want to sink their teeth
into this one. Overall, it's not a bad EP...the Prince Paul "Latin Lingo" remix
was dope...and the "Throw Your Hands In the Air" remix w/ Erick Sermon wasn't
burnt toast neither (though I would have rather had "Hand on the Glock"). The
two new tracks are ok..."Intellectual Dons" has Call o' the Wild and the vibe-y,
string-y Muggs track (I assume) is better than much of what's on "Temple of the
Boom". "Whatta You Know" should've been out on the second album...interesting
sh*t that samples Issac Hayes' "Walk On By", just like Biggie had on "Danger".
Not a bad cut...curious that they left it unreleased. Lyrically, all of this is
pretty classic Cypress Hill...which can be good or bad depending on your frame of
reference. On the flip-side, a lot of the remixes were no big deal back when
they were released...the Blunted remix of "Kill a Man" is noticeably
missing...that was a better than, for instance, that Fugees remix of "Boom Biddie
Bye Bye".

<hr>

Da Great Deity Dah "Life Or Death" EP (Damola DS007)

Mercer: How does that Nike commericial go? "Look out honey cause we're
using technology..." Well, this guy obviously isn't, but he turns out to perform
just as well as on a recording that would cost a lot more to do. With all the bad
frequency response, hissing there and muffling there, most of the tracks probably
weren't done in a high tech studio, or anything close. But taken all that in
account, how much did it matter? Not much really, as this turns out to be an
underground gem that gives hope to all the kids with hip-hop skills but think
they need 48 digital tracks to come off phat.

This record wastes no time either - boom! - hitting big immediately with the Holy
Eucharist Mix of the title track. A potential MC anthem ("my mic check's life or
death",) the track by Decomposed effortlessly bounces from start to finish using
a two-chord piano loop and drums heavy on high frequencies. In fact, the cut is
so bright that there's quite a bit of distortion in the background which may or
may not get to you. Dah's flow is simple in theory but he also throws in the
occasional big vocabulary a la Keith Murray, and overall has very few dull
moments in his verses. The Hades Mix keeps the bouncing drum feel but switches to
a cool bassline, allowing you to really hear DJ Eskimo's scratching between
rhymes, but also the very brief lyrical lapses during them.

The flat-sounding "Dapper, A Nappy Headed Undergound Rapper" may not have any
treble response, but it's actually just as good as the stuff that comes before
it. The relaxed feel helps to spur a rhyme so smooth and mellow that could be
mistaken for Rakim, and simple string and guitar samples never intrude. "Mind
Skills" sounds like something composed spontaneously, giving a short freestyle
appeal to the A-side.

"Middle Passage" opens up the flipside with Eskimo cutting over a chopped up
"Impeach The President" which eventually adds a three-note bassline. Guest
rhymers the Mystical Pharohs, unfortunately, come up kinda wack. Next track, the
slow-rolling tutorial "How To Author A Great Rhyme" ironically is the weakest cut
on the EP. Finally, "Live Freestyle @ Flava 1580" shows that Dah isn't ready for
the battle circuit quite yet. However, I'd let this guy record his writtens
anytime, anywhere, as he's proven to kick dopeness whether it's on metal tape or
masking tape.

- Da Great Deity Dah <a
href="http://www.nyu.edu/pages/minetta/mercer/sslifedeath.wav">Life Or Death
(Holy Eucharist Mix)</a> [258K] - Da Great Deity Dah <a
href="http://www.nyu.edu/pages/minetta/mercer/ssdapper.wav">Dapper, A Nappy
Headed Underground Rapper</a> [254K]

<hr>

Dead Poetz Society "Klockuz/Lick A Shot" (Challys DSE-0901)

Mercer: A whole bunch of Brooklyn kids come together on this record, led
by MC/producer/engineer 7STORM8. His verse is one of three heard on "Klockuz",
which has a cool melodramatic feel and very competent rhyming about "the warzone
of Crooklyn", complete with tick-tocks in the background of the chorus. Four
other MC's are featured on "Lick A Shot", a similar reality/represent theme.
Neither the original nor the Slomo remix are as strong as the lead cut, but it
appears the rapping is just as noteworthy for its consistency and flow. With at
least seven voices in the mix including a producer who can bring it all together,
Dead Poetz Society is an indie crew to be reckoned with.

- Dead Poetz Society <a
href="http://www.nyu.edu/pages/minetta/mercer/ssklockuz.wav">Klockuz</a>
[258K]

<hr>

De La Soul "Stakes Is High" UK (Tommy Boy TBV 730)

O-D.U.B.: The UK remix is NICE...guitar licks and all...I was definitely a fan
of it...except that the snare kick intro is murder to mix in... The Spinna remix
wasn't all that impressive...very vibe-y but overall kind of empty too. It's
just not very catchy and even though I didn't like Jay Dee's original track that
much either, at least I remembered it. Still, the UK remix is a good enough
joint.

Mercer: I think the remixes on this 12" are on the domestic CD single, but
if you want them on wax you gotta get the import. The Album Version is still my
favorite though - the song only seems to impact fully using the three-measure
loop and "desperation time" track. The "UK Full Length Remix" has an pleasant
guitar loop which is great, but I swear the acapella sounds off against the new
drum track a number of times and really annoys me. If you heard the remix first
before the original, then maybe you won't feel it, but I'll never know. The DJ
Spinna Extended Remix is similar to his other Beyond Real productions - bassy
organs and ambient electronic samples. Despite good efforts, however, neither
remix cuts it long term as far as I'm concerned.

- De La Soul <a
href="http://www.nyu.edu/pages/minetta/mercer/sstakes1.wav">Stakes Is High (UK
Full Length Remix)</a> [242K] - De La Soul <a
href="http://www.nyu.edu/pages/minetta/mercer/sstakes2.wav">Stakes Is High (DJ
Spinna Extended Remix)</a> [240K]

<hr>

DJ Sizzahands "Soul-O-Joyntz" & DJ Eclipse "Give Da DJ a Break" (AV8)

O-D.U.B.: Two relatively new AV8 break 12"s...AV8 really continues to impress
me with the quality of their break singles...clearly, they cater to Djs only, but
as a DJ...hey, that's my sh*t! "Soul..." is more smooth, as the name suggets and
Eclipse, who works at Fat Beats in NYC, puts his own project together with some
tight sampling and catchy breaks. They work really well in most mixing
situations...either as filler or just on their own.

<hr>

Heather B. "Takin Mine/My Kinda N*gga" (Pendulum SPRO-11620)

O-D.U.B.: Much as I might like to, I have a hard time getting into Heather
B...mostly b/c she sounds a lot like a wanna-be hardcore MC, out-testoroning
peeps like Nine with twin glocks. Not that she's wack, but it's like, why
bother? Women have a hard enough time making it in the rap game, why go out like
the next gun-toting brother? I don't her to go pop, don't get me wrong...but I
wouldn't mind her using her vocal skills for something more original. Anyway,
the A-side has a radio friendly track though her vocal delivery makes crossover
pretty damn hard in any environment. The B-side is a bit better...at least she's
compliment by equally ruff n' rugged rhymers in the form of MOP. The deep bass
track by Kenny Parker (is it me or do both and his brother always use the same
formula?) gets a head nod. Overall, "All Glocks Down" was still her
pinnacle...this is ok, but not that big of a deal.

Mercer: I'm confused here. Pendulum could have put out "Da Heartbreaka",
"What Goes On" or even "Sendin 'Em Back" - anything to keep Heather B's line of
nut-cracking shit going after "All Glocks Down" and especially "No Doubt."
Instead, they do the "Perfect Match" maenuver, flipping 180 for a single that
softee on one side, wanna-be-hardee on the other. I think EMI was trying to do
the same thing with Bahamadia, flicking her from rough to smooth like a switch.
But "I Confess" pretty much bombed, and even the recent remix 12" didn't turn too
many heads. So is Heather doomed to repeat the same, releasing the fluffiest
A-side to date? Maybe M.O.P. can save the 12" on the posterior, but if guys like
Onyx taught anyone anything, it's that hardcore is defined by lyrical content,
not who can scream incoherently the loudest.

<hr>

Innersoul "It's the Right Time" (Mix-It-Up)

O-D.U.B.: This 12" is starting to make some noise on Billboard...but
overall, I'm not too wowed over by it...the lyrics, while decent, aren't too
memorable...and the production on the main mix is in the same boat. Only the
remix really catches some flavor, thanks to a nice jazzy track that held my
attention. You'll probably be hearing more of this as the summer plods along so
don't trip if you haven't seen it yet.

<hr>

Jay-Z "Can't Knock the Hustle" (Roc-A-Fella)

O-D.U.B.: Man...and I thought "Ain't No N-" was radio-friendly...guess Jay
Z one upped himself on this aimed-for-plat-status single. I'm not hating on it
either...it flows well...I'd dance to it in a club and Mary J sounds good. It's
not a hip hop classic by any means, that's for sure... Take it for what it's
worth...

<hr>

Kool G Rap & DJ Polo: Lifestyles of the Rich and Famous (Cold Chillin')

O-D.U.B.: Dope beat...that was the first thing that hit me. Definitely a party
track, but not so crossover to start making the wack-intolerant get ill. Being
that I'm not a G Rap fan since back in the days, I don't know if this is a new
track or an old track...either way, I could dig on it. This type of rhyming
about wealth seems more comical than anything else, though if you want some
bang-bang action, you could always blow the dust off of "4,5,6".

- Kool G Rap <a href="ssrichnf.wav">Lifestyles Of The Rich And Famous</a>
[210K]

<hr>

Labtekwon "I Am Here" (Assassin)

O-D.U.B.: This is an older single, but I just got it...so that's why it's
here. The A-side track has an ill drum track that catches your attention...and
then the rhymes drop. I think some people are too keen on the opening lyrics,
"I'm in synch...with Cinco De Mayo", but it gets better. The B, "No Time To
Chill" starts with this bluesy guitar loop that sounds like theme music from "NY
Undercover". Lyrically...it sounds like he's rhyming through a papertube but
other than those weird acoustics, it's decent sh*t. It's hard for me to get too
hype on it, but it has its merits.

<hr>

Lace Da Booms "Cut That Weak Shit/Ain't No Secret" (Guesswild
GW1008)

Mercer: Good, strong Brooklyn indie here. You're first drawn to mixes of
"Weak Shit" featuring Quasi Mode and Royal Flush (including versions by Buckwild
and Obsession,) but my favorite ended up being "L's Version" which has Lace all
by himself proving his worth pretty resoundingly. The sample line from BDP's "We
In There" works great between verses on the smooth soulful track, which is
actually jacked from some classic record which I can't seem to remember right now
(Kane used it on "Young Gifted And Black".) However, good production seems
necessary for this guy, who doesn't come off nearly as well on the B-side done by
Domingo. Overall the record is above average, with every cut possible for local
radio (and more) in one way or another.

- Lace Da Booms featuring Quasi Mode and Royal Flush <a
href="http://www.nyu.edu/pages/minetta/mercer/sscuthat.wav">Cut That Weak Shit
(NYC Mix)</a> [247K]

<hr>

LMNO "Hit the Fence" (Up Above)

O-D.U.B.: LMNO didn't pick up very many fans with his verses on
"E=MC5"...and as much as I want to support this label...I can't say I feel this
new 12" at all. LMNO's flow just does not work for me...I think he
overennuciates to the point of defeat. It's a shame too b/c if you really listen
to what he's rhyming about, it's good sh*t...in many ways, his content and
verbals are cool, but his delivery is what needs retracking.

<hr>

Mobb Deep, L.E.S. and A.C.D.: Street Life b/w Organized Konfusion: Decisions
(EastWest ED-5870)

O-D.U.B.: Man...Mobb Deep is almost like Wu Tang in terms of how much they
produce/put out, but at least the RZA changes his sh*t up. If I hear another
Mobb Deep track in the next month, I'm going to start having the drink away the
pain of another MB-cloned track. Granted, they're sh*t isn't wack...but it all
REALLY starts to sound redundant...they use the same damn elements everytime.
Moreover, lyrically, I don't know when the last time was when they didn't rhyme
about the street life. They should have just named the 12", "More of the Same
Life".Luckily, the Organized Konfusion track rescues this from becoming
another wortheless 12" from the "America Is Dying Slowly" LP. I wasn't that big
of a fan of this cut b/c the production was just a little too R&B flavored...but
I have to give credit to OK for coming with some intense lyrics. They're flow is
still one of hip hop's untouchables...break neck speed yet still with clarity and
intelligence.

<hr>

MOP "Stick to Ya Gunz/Brownsville" (Relativity)

O-D.U.B.:This Brooklyn crew is still asking if you want some
hardcore...and even if you didn't, you're gonna get it anyway. Personally, I
really wanted to like some of this 12", especially with Premier's skills on at
least one of the tracks...but the lyrical content sounds so redundnat in this day
and age that I couldn't really get into it that deep. Both tracks pump the same
Mac-10 mentality...is this what I'm really supposed to be checking for in 96?

<hr>

Mountain Brothers EP (Magnificent Butcher MBP1996)

O-D.U.B.: While NYC and LA are busy busting lyrical shots at each other,
Philadelphia is quietly reemerging as one of hip hop's core centers. Thanks to
the work of folks like the Roots and Bahamadia, Iladelph's influence is expanding
and bring more heads above ground. The latest Philly group to come up is doing
so on the strength of their first vinyl project after years of paying dues on the
low. The trio of Peril, Styles and producer/rhymer Chops, better known
collectively as the Mountain Brothers have already gotten national exposure
through a Sprite radio drop, but that's the closest they come to anything
"commercial". Thanks to long, hard time spent working on their rhyme skills,
the MBs share a chemistry rare among many other hip hop groups. More than just
good flow though, their content demands close listening as they drop rhymes on
money-mentalities and blind MCs as well as your basic braggadocio. Chops
deserves extra credit for lively tracks that don't use any samples, just talent
for splicing together jazzy beats. Rumor is that major labels are taking
interest and no surprise. The MBs represent themselves and their city something
lovely...climb up and taste the flavor.

- Mountain Brothers <a
href="http://www.netaxs.com:8080/~ezekiel/paper_chase.wav">Paperchase</a>
[325K] - Mountain Brothers <a
href="http://www.netaxs.com:8080/~ezekiel/optometry.wav">Optometry</a> [245K] 
- Mountain Brothers <a href="http://www.netaxs.com:8080/~ezekiel/aint.wav">Ain't
Nuthin</a> [435K]

<hr>

Nas featuring AZ "Life's A Bitch" remix/Funkdoobiest "Dedicated" remix
(blank label ECL001)

Mercer: I liked this one, though I have no idea who did it or when it
actually came out. "Life's A Bitch" flips on "Everybody Loves The Sunshine" and a
loud, simple drum track that makes my head bounce. The flow never drags or
rushes, so either the lyrics were perfectly compatible by luck or they did a good
job on the boards. "Dedicated" isn't that strong to begin with, but the producers
do their job by enhancing the track to try to make some sort of impact. Son
Doobie will still get to your nerves after a few listens. Good to note that
unlike some of the other blank labels out there, this baby comes with both
instrumentals, nice touch.

- Nas featuring AZ <a
href="http://www.nyu.edu/pages/minetta/mercer/sslabitch.wav">Life's A Bitch
[Bootleg Remix]</a> [262K]

<hr>

Nas-T Howie "Attic" (Frankenstein)

O-D.U.B.: The beats...three different mixes, all are tight...especially
the original which is just bugged-sounding at times. I was definitely open on
that...but lyrically...I really can't say I liked this at all. The flow was
simplisitc and the content was just kind of dumb. "We love the bi*ches too
much"? Whatever... Lyrically, something like that might have been hitting...like
four years ago, but not in 96.

<hr>

Nine "Lyin' King" (Profile PRO-7451-0)

Mercer: When Rob Lewis hooked up with Nine last time, there yielded at
least a soild lead single ("Whutcha Want?") and later on, a killer B-side
("Famaldahyde.") This heads up to the new album "Cloud 9" which was just released
- to low fanfare. Hogging the spotlight instead is the new single which, while a
bit overrated, does justify Nine for this next LP project. Unfortunately, Rob
isn't as hitting as last time, and Nine's delivery is a bit different, sticking
to themes rather than going off at the mouth (which I thought was fine.) Oh well,
people want to evolve themselves, but he's just not as good in the new mode,
trying to send a message 'stead of putting heads to bed. "Industry Party" is
pretty cool on the other side, the beat shuffling away while Nine disses the shit
out the peeps across the room. If that's your jam of the week, you gotta pick up
the 12" since it doesn't show up on the full-length.

O-D.U.B.: No big deal...Rob Lewis' track is ok, but definitely not as good
as a LOT of what was on Nine's last LP. And why did they repeat Nine's first set
of lyrics while switching up the track? Seemed kind of weird. No matter, Nine's
lyrics have changed a bit, but not necessarily for the better. He's attempting
to come with some well-thought out sh*t, but I'm just not feeling it. Still,
expect to hear this sh*t banging in clubs...the track begs for party play.

- Nine <a href="http://www.nyu.edu/pages/minetta/mercer/ssiparty.wav">Industry
Party</a> [257K]

<hr>

People Without Shoes "Escape The Streets" EP (Rage RGE
1023-1)

Mercer: Remember when? This Bronx duo's earlier releases include cuts like
"Green Shoe Laces" and "Nappyhead Assassin." While Melvin Gibbs did okay on
production, lyrics were whiney, unpolished and often plain wack. Even though they
came out on the DIY tip long before the current indie explosion, a lot of
catch-up would be necessary for PWS to match some of the higher quality efforts
of late. I was surprised to even see a new release from these guys, but even more
impressed by their steady improvement on both beats and rhymes.

The EP leads off with the title track, which serves as the first indicator of
their new sound. Though the rhymes are still whiney in pitch, the reality subject
matter does hold its own, and adjusting the tempo to your own tastes reveals a
very catchy drum track (produced by Lyvio G.) The rest of the A-side hands
production back to Melvin Gibbs, who loops smooth keyboards to backup more
reality rhymes on "Ghettonetics", and returns to the old wacky modes on "Rainy
Monday" (which probably can only be appreciated by diehards of the original PWS
style.)

Flipside starts with the nonsense rhyme "8 Ft. Deep" which ain't sayin nothin',
but might be the best overall track in terms of flow against beats. The last two
songs fall a bit short of useful, but both "Mental Maze" and "Little Shop Of
Horrors" have elements of improvement over past releases. If I had my way, that
whiney MC would be long gone, but if this group is staying together they need
only stick to reality and solid beats a little tighter in the future. The other
option is to go full blast on the spooky shit to complete perhaps with Dr.
Octagon-type material. The problem might be that the creative potential is not
there to accomplish such extremes in the first place.

- People Without Shoes <a
href="http://www.nyu.edu/pages/minetta/mercer/ssfeetdeep.wav">8 Ft. Deep</a>
[248K]

<hr>

Pharcyde "She Said" (Delicious Vinyl INT12-95002)

Mercer: Both times a third single was released retail from a Pharcyde LP,
my gut reaction has been - "huh?" Three years ago I was shocked to see "Otha
Fish" on sales racks. Though one of the more cool and creative album cuts from
"Bizarre Ride II", it was way too slow for most DJ's to rock and the remixes were
really tough to digest, despite paving some good ground for "abstract west-ness"
(I've since grown to them a bit with long age.) It was hard to imagine anything
but disappointing sales for this 12", and sure enough it didn't catch on until
the after-market took advantage of its relative scarcity. Still, I would have
been much more satisfied with what became their next effort "4 Better Or 4
Worse", which ended up promo-only with nothing new except one instrumental.

Stakes is a little lower for "Labcabincalifornia", but nevertheless they've been
able to match the number of singles released as the first album, and even raised
costs back up for another beautifully designed picture cover following the
first-ever GS that was "Drop". Like "Otha Fish", "She Said" is a bit on the slow
side and begs for increased pitch on all three versions. But even at the right
tempo, dull romance lyrics and a straight-singing chorus doesn't necessarily
appeal. Adjustments by Jay-Dee and Mike Caren try their best, the latter using a
more melodic approach which complements the crooning moods.

On the flip, "Somethin' That Means Somethin'" is one of the catchier album cuts,
and the latest in a series of music industry commentaries that have hit the
airwaves this year. While the Pharcyde are aware about how record companies do
things, I think they've held back a bit in terms of giving fans what they truly
want, dating back to the original debut. "Runnin" might have matched "Passin' Me
By" in its pensive beauty, but nothing has ripped a crowd up like "Soul Flower"
or "I'm That Type Of Nigga" in ages. Please guys - don't give Brian Green any
more of the fun.

- Pharcyde <a href="http://www.nyu.edu/pages/minetta/mercer/sshesaid.wav">She
Said (Jay-Dee Remix)</a> [273K]

<hr>

Poor Righteous Teachers w/ KRS "Conscious Style" (Profile)

O-D.U.B.: The KRS track was pretty much par for the Blastmaster...not bad,
but nothing too special. What makes the track special is how all the MCs flow
over it with energy...though I didn't think Wise Intelligent was as good as I've
heard. The remixes are ok, though not way different...one strips down to the
bare basics of a bassline and dope drum loop...the other is more of the standard
BDP product. I expect this 12" to do well among heads, and while I think it 's
cool, I'm not tripping way hard.

<hr>

Raw Breed "That's My Nigga" (Warner Bros.)

O-D.U.B.: The main strength of this 12" is the rugged n' rough
production/lyrical combo. It's not hugely original, but I can see a lot of heads
diggin' it...especially those who are into that particular vibe. In other words,
for a song of its nature, it's strong. Overall though, I doubt it'll be in
rotation very long.

<hr>

Rugged All-Stars "Black People" (Rugged Scientist)

O-D.U.B.: I've liked their older stuff and this is cool too, but just very
different. It's a total party break 12"...sampling both a well-used jazz break
plus the bassline from Pete Rock's "The Creator". The two mix like butta so some
Djs out there might check for its usefulness like that. Otherwise, it's not much
to listen to lyrically...just a party track ya'll.

<hr>

Scott Lark Da Sensei "Razzle Dazzle" (Contract CRC31051)

Mercer: Just so you know, I wasn't feeling this guy's first single
"Insight" from last year at all. Still, a lot of people I knew thought it was
cool so I ended up checking this new 12" out recently. Scott has this hoarse,
bassy voice which comes off as "extremely weeded" when he raps, kinda like Ill
Bill from the South Paw Sampler. Even though he appears to have some lyrical
skills, the flow sounds really boring. When the track is dull and he's trying to
be serious on the A-side, it's time to take two valiums, baby. So far my
impression isn't much different than the last record.

But turning the record over and revealing a picture of Scott flippin' the bird,
there's some hope indeed. "The Movie" sports a "back to the 70's" funk
instrumental that serves to motivate more exciting raps, thanks to Tony D's
swifter production on side B. The next cut on the disc also has the worst name -
"I Killed A Hoe" - but I'll be damned if I wasn't nodding off to the sampled live
band backing up strong verses of incoherent nonsense. Picture "Soul Train" with
this guy staggering down the line, completely wasted - this could be a surprise
hit on underground radio.

Unfortunately, the 12" ends back on boring with "It Ain't Goin Down" a duet with
Jaggid Edge that ain't gettin' played by me anymore. Overall though, if you liked
Scott Lark Da Sensei from before, then you'll definitely dig this latest sucker.
But even if you think he's boring as hell most of the time, you still have to
admit that "I Killed A Hoe" is one hell of a catchy tune.

- Scott Lark Da Sensei <a
href="http://www.nyu.edu/pages/minetta/mercer/ssmovie.wav">The Movie</a>
[252K] - Scott Lark Da Sensei <a
href="http://www.nyu.edu/pages/minetta/mercer/sskillhoe.wav">I Killed A Hoe</a>
[256K]

<hr>

Shadez Of Brooklyn "Change" (Pandemonium SOB 001)

O-D.U.B.: An excellent single. I can't really say I like the B-side that
much, but the A-side is really strong...production by DJ Evil Dee is jazzy and
tight. Great piano-flavored track and good lyrics from some East NY kids who can
talk about the street life without glorifying it. Think of 'it like Group Home
w/ better skills. The label is Da Beatminerz indie label by the way and worth
supporting for the future.

Mercer: This should be the next DIY to break through, courtesy of Da
Beatminerz-owned Tape Kingz label. The A-side has a great piano track supporting
intelligent reality verses. The flow isn't perfect in the later verses, but
overall it's a very enjoyable listen all the way through. Mr. Walt is on
production and shows he'll be able to hack it for years to come.

Don't bank on the group itself though - the two sides of the record are like
night and day. "When It Rains It Pours (Survival Warz!)" hasn't pleased me no
matter how many times I listen to it. While it's a different producer on side B,
there shouldn't be so much of a contrast between Mr. Walt and Rich Blak
considering they're the same crew. I mean, how can I say Beatminerz production
when either of these cuts can be representative of their style? Simply put, one
guy will always get the call and the other can step.

- Shadez Of Brooklyn <a
href="http://www.nyu.edu/pages/minetta/mercer/sschange.wav">Change</a> [241K]

<hr>

Thrust EP (Playground)

O-D.U.B.: The last year has offered a lot of compelling arguments that there's
more to Canadian hip hop than just Maestro Fresh Wes and "those two DJs". The
latest example is one of the strongest to date: Thrust. His new EP, "Past,
Present and Future" stands strong against some of the best new indie projects,
north or south. Given the dominance that American rap has on the rest of the
world, it's refreshing to see Thrust bust out with original lyrics and flow that
don't sound like they simply jacked the flavor-of-the-month down here. 
Production is mostly handled by Scam who turns out tasty, jazz-influenced tracks
that achieve a good balance between rhythm and melody. Fellow Canadian
Frakenstein only produces one song, but it's the best one, "Can U Understand".
With a drum loop crisp enough to make The Ummah collectively smile, they wisely
put the instrumental of the song on the EP, giving DJs an added incentive to give
the cut a spin. With four full length tracks, plus a remix and filler, "Past,
Present and Future" is part of a new Canadian cold front that's putting wackness
on ice, no matter what side of the border you're on.

<hr>

Vooodu! "One Life to Live/Two Deadly Sins" (PatchWerk PW360)

O-D.U.B.: The Western Hemisfear may be no more, but this single should
give people something to smile about. I can't say I liked as much as I thought I
would. Vooodu! is a strong rhymer, with a distinctive voice, but like so much of
LA's "next" school sh*t...the production was didn't bowl me over. The A-side is
the more commercial friendly track, but it doens't sound hella crossover...I kind
of dug it. Very mellow. The B-side, w/ Mean Green has a lot of people talking,
but I just wasn't particular excited by it. Production is deep and murky but not
that interesting. Lyrically, it's strong, no surprise there, but not necessarily
memorable. Overall, I'd recommend this sucker, but I wouldn't expect it to blow
minds yet.

<hr>

Young Zee "Problems" (Perspective)

O-D.U.B.: Zee's follow-up to "Everybody Get" is a lot like that first 12".
Radio friendly A-side (and how!) and then a more "hardcore" b-side. I have to
admit...I dig on Young Zee's flow and while I know that the tracks tend to be for
popular consumption, they're done well enough that I don't care. There's a big
difference b/t a wanna-be crossover track (see "I Confess") and one that works
both ways. Unfortunately, the B-side, "Joy Ride" was no big deal...listen to
something off the "NJ Drive" soundtrack instead.

<hr> Since 3/5/96, 4803 heads have popped in for a visit. Thanks for the
support! <a href=ozone.html>Back to the Ozone</a>

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