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(08/05/04 4:00am)
Terror Squad is back … kind of. With its first release since the self-titled debut back in '99, the line-up is as different as the rap landscape was back then. \nThe biggest difference (no pun intended) is the loss of Big Pun, the brightest star in Fat Joe's Bronx crew, who passed away in 2000 at the height of his success. Added to the mix is female rapper Remy Martin and Tony Sunshine, who adds a little R&B to the mix. \nRemy, who's MC battle-tested, is given a substantial amount of mic time on True Story, which despite her current "mic-cred" isn't always a good thing, as her verses are hit and miss, including straight bites of other rappers' verses ("said he liked my necklace/started relaxin'/now that's what the fuck I call a chain reaction") who aren't even from the Bronx. Name that rapper, kids!\nMost of the album appears to be a showcase for Remy, perhaps trying to seek out a new identity for Terror Squad post-Pun. Instead of the original one-two punch (or double cheeseburger … or double stack …) of Fat Joe and Pun, it's almost as though they're aiming for a hood king and princess image instead, which is a stretch at best. \nThis isn't to say True Story is whack by any means, it's just not the same as their classic debut. Battling "Lean Back" for best song on True Story is "Take Me Home." While "Lean Back" is the brash, hood-banger, "Take Me Home" is the lighter, player side of the Squad. No song on Terror Squad sounds alike, as beats range from hard ("Bring 'em Back") to smooth ("Thunder in the Air") to Presidential ("Yeah Yeah Yeah"). \n"Yes Dem to Def" would be a rather catchy song, but for some reason, like many rap CDs lately, it's edited for explitives, the only one on the album. This might not be a big problem, but for Joe, a thug who spits out "mothafucka" like peanuts in a dugout, his first verse on the song may as well be done in sign language, it's muted so much. Engineers and producers, what is up with this trend? Save that version for Wal-Mart. \nWithout Big Pun, Terror Squad just doesn't have that star-studded presence, as old members Prospect and Armageddon don't step up to run for VP of the squad. Fat Joe is left bearing all the weight himself, which he is mildly successful at doing, as the entire album he raps most passionately, probably knowing his clique isn't what it used to be.
(08/05/04 4:00am)
Man, oh man. It's about that time for me. Come next week I'll officially have graduated (assuming I can talk my stat teacher into a little "bump" on my midterm). \nSo, for my last column, I must write of the social scene here at IU, because it rocks of course, but could use a little constructive criticism in my opinion. \nFirst off, since as of next week I'll officially be "old" for school, it gives me the right to be a grumpy old man and rant a bit about the bar scene here. I know what you guys are thinking, "Dude, the bar scene here is sick! I mean, DJ Unique plays at Sports like every night!" \nWhich leads me to my first little beef. Sports. The bar I, along with many teenagers, have had their most shameful/awesomely retarded nights. Is it me or does this bar have an identity crisis? The conundrum that strikes me is how this school is far too cool for dancing in most cases. Besides Axis, which is a graveyard many nights, dance clubs just don't make it here. Yet at Sports, by 1 a.m. people are up on top of booths getting their shake on. Seems as though the only place really, really ridiculously good looking people dance is at the place that isn't even built for it. And man, I've seen some close calls on chicks slipping off the rail and almost biting it hard, which brings me visions of lawsuits dancing in my head, but knock on wood. \nBathrooms: Man, did I miss the memo about how no bar in town needs to take care of the facilities after dark? Sorry, I know I'm supposed to be too bombed to even care, but on some nights when I'm not blacked out, I am disgusted. If you use the sink at Upstairs, you are doing yourself more harm than good, since most dudes use it as a third urinal anyways. And would it kill the countless employees in red shirts at Kilroys who walk around staring at the endless parade of pretty ladies in those little pink skirts (whoever deemed those little things back in style receives a Jammy: Jam Session Boner Achievement Award) to fill up the paper towel dispenser here and there? \nDrink Specials: I gotta tell you, the drink specials in this little southern Indiana town aren't too shabby. I realized this one night when I was in Broadripple celebrating the Pistons Game 2 win against the Pacers when I bought a round of Jägerbombs that cost $36 for four. One night out of either boredom or lack of funds I calculated you could have six drinks a night on every day of the week here and spend under $40 including decent gratuity, while going to a different bar every night. Don't have $40? Well a measly four articles for the IDS would pay your bar tab. Join the staff, won't you?\nFake I.D.'s: Fake I.D.'s are not allowed and will be prosecuted to the fullest extent of the law at IU … Sorry, with the disclaimer out of the way, it's pretty well assumed that most bars pay their bills off fakes. Which is fine by me, I had one too, which I sparingly used. There are two groups of people with fakes at the bars: those who act like they're 21 and don't make a fool out of themselves … and … wait a second … age has nothing to do with it. If anything, minors are a little more responsible because the laws are stiffer. Just don't drink and drive everyone.\nEntertainment: Bloomington boasts itself as one of Indiana's finest cultural hubs. Then explain to me why cover bands reign supreme in this town? Oh wait, I asked some chicks one night at Bluebird during the Leonard Brothers' performance and they made it crystal clear: "I like 'em cuz they play songs I know! And they're cute!" I know, I like hearing their frat-rock version of "No Diggity" as much as the next guy, but how come the bands who write their own stuff rarely headline the big gigs in this town? \nThe best spot in town? Well folks, it ain't at the bar. It's at the quarries south of town. Yes folks, this place is off the hook, free (unless you get caught for trespassing, since it is private property) and downright awesome. The stoned townies out there on weekend afternoons are more than friendly and even give tours of the place as we found out a few weeks ago. The jump from the rock (see: "Breaking Away") is a pure adrenaline rush, and the atmosphere is something totally unique, especially to all of you from Chi-town and the East Coast. It's even better than Sports on a Thursday! \nAnd with that, I must be shipped to the real world, where you actually need credentials and skills to write for a paper.
(08/05/04 2:32am)
Man, oh man. It's about that time for me. Come next week I'll officially have graduated (assuming I can talk my stat teacher into a little "bump" on my midterm). \nSo, for my last column, I must write of the social scene here at IU, because it rocks of course, but could use a little constructive criticism in my opinion. \nFirst off, since as of next week I'll officially be "old" for school, it gives me the right to be a grumpy old man and rant a bit about the bar scene here. I know what you guys are thinking, "Dude, the bar scene here is sick! I mean, DJ Unique plays at Sports like every night!" \nWhich leads me to my first little beef. Sports. The bar I, along with many teenagers, have had their most shameful/awesomely retarded nights. Is it me or does this bar have an identity crisis? The conundrum that strikes me is how this school is far too cool for dancing in most cases. Besides Axis, which is a graveyard many nights, dance clubs just don't make it here. Yet at Sports, by 1 a.m. people are up on top of booths getting their shake on. Seems as though the only place really, really ridiculously good looking people dance is at the place that isn't even built for it. And man, I've seen some close calls on chicks slipping off the rail and almost biting it hard, which brings me visions of lawsuits dancing in my head, but knock on wood. \nBathrooms: Man, did I miss the memo about how no bar in town needs to take care of the facilities after dark? Sorry, I know I'm supposed to be too bombed to even care, but on some nights when I'm not blacked out, I am disgusted. If you use the sink at Upstairs, you are doing yourself more harm than good, since most dudes use it as a third urinal anyways. And would it kill the countless employees in red shirts at Kilroys who walk around staring at the endless parade of pretty ladies in those little pink skirts (whoever deemed those little things back in style receives a Jammy: Jam Session Boner Achievement Award) to fill up the paper towel dispenser here and there? \nDrink Specials: I gotta tell you, the drink specials in this little southern Indiana town aren't too shabby. I realized this one night when I was in Broadripple celebrating the Pistons Game 2 win against the Pacers when I bought a round of Jägerbombs that cost $36 for four. One night out of either boredom or lack of funds I calculated you could have six drinks a night on every day of the week here and spend under $40 including decent gratuity, while going to a different bar every night. Don't have $40? Well a measly four articles for the IDS would pay your bar tab. Join the staff, won't you?\nFake I.D.'s: Fake I.D.'s are not allowed and will be prosecuted to the fullest extent of the law at IU … Sorry, with the disclaimer out of the way, it's pretty well assumed that most bars pay their bills off fakes. Which is fine by me, I had one too, which I sparingly used. There are two groups of people with fakes at the bars: those who act like they're 21 and don't make a fool out of themselves … and … wait a second … age has nothing to do with it. If anything, minors are a little more responsible because the laws are stiffer. Just don't drink and drive everyone.\nEntertainment: Bloomington boasts itself as one of Indiana's finest cultural hubs. Then explain to me why cover bands reign supreme in this town? Oh wait, I asked some chicks one night at Bluebird during the Leonard Brothers' performance and they made it crystal clear: "I like 'em cuz they play songs I know! And they're cute!" I know, I like hearing their frat-rock version of "No Diggity" as much as the next guy, but how come the bands who write their own stuff rarely headline the big gigs in this town? \nThe best spot in town? Well folks, it ain't at the bar. It's at the quarries south of town. Yes folks, this place is off the hook, free (unless you get caught for trespassing, since it is private property) and downright awesome. The stoned townies out there on weekend afternoons are more than friendly and even give tours of the place as we found out a few weeks ago. The jump from the rock (see: "Breaking Away") is a pure adrenaline rush, and the atmosphere is something totally unique, especially to all of you from Chi-town and the East Coast. It's even better than Sports on a Thursday! \nAnd with that, I must be shipped to the real world, where you actually need credentials and skills to write for a paper.
(08/05/04 2:01am)
Terror Squad is back … kind of. With its first release since the self-titled debut back in '99, the line-up is as different as the rap landscape was back then. \nThe biggest difference (no pun intended) is the loss of Big Pun, the brightest star in Fat Joe's Bronx crew, who passed away in 2000 at the height of his success. Added to the mix is female rapper Remy Martin and Tony Sunshine, who adds a little R&B to the mix. \nRemy, who's MC battle-tested, is given a substantial amount of mic time on True Story, which despite her current "mic-cred" isn't always a good thing, as her verses are hit and miss, including straight bites of other rappers' verses ("said he liked my necklace/started relaxin'/now that's what the fuck I call a chain reaction") who aren't even from the Bronx. Name that rapper, kids!\nMost of the album appears to be a showcase for Remy, perhaps trying to seek out a new identity for Terror Squad post-Pun. Instead of the original one-two punch (or double cheeseburger … or double stack …) of Fat Joe and Pun, it's almost as though they're aiming for a hood king and princess image instead, which is a stretch at best. \nThis isn't to say True Story is whack by any means, it's just not the same as their classic debut. Battling "Lean Back" for best song on True Story is "Take Me Home." While "Lean Back" is the brash, hood-banger, "Take Me Home" is the lighter, player side of the Squad. No song on Terror Squad sounds alike, as beats range from hard ("Bring 'em Back") to smooth ("Thunder in the Air") to Presidential ("Yeah Yeah Yeah"). \n"Yes Dem to Def" would be a rather catchy song, but for some reason, like many rap CDs lately, it's edited for explitives, the only one on the album. This might not be a big problem, but for Joe, a thug who spits out "mothafucka" like peanuts in a dugout, his first verse on the song may as well be done in sign language, it's muted so much. Engineers and producers, what is up with this trend? Save that version for Wal-Mart. \nWithout Big Pun, Terror Squad just doesn't have that star-studded presence, as old members Prospect and Armageddon don't step up to run for VP of the squad. Fat Joe is left bearing all the weight himself, which he is mildly successful at doing, as the entire album he raps most passionately, probably knowing his clique isn't what it used to be.
(07/29/04 4:00am)
It wasn't long ago Ja Rule was boasting Murder Inc. as the "World's Most Talented Record Label." Since then, Murder Inc. has dropped the "Murder" and Ja has been dropped by 50 Cent. The well that was the Ashanti/Ja Rule duo three years ago has now dried, and The Inc. must look to the future, which is where 18-year-old Lloyd comes in. \nIn fact, Lloyd wasn't even supposed to be on The Inc., but after he recorded an album for Magic Johnson's label, things fell through and he was left shopping it around until The Inc. found him. Lloyd does in fact have some talent to bring to the table, enough to hold his own on Southside. The first single and title track is of course with Ashanti, as she helps introduce Lloyd to the mainstream. There's even a bonus remix (same beat, just with a verse from "Scarface") of the song, even though it's not exactly deserving of it. \nWhile many of the song titles and lyrics are a bit clichéd ("Feelin' You," "Hustler," "I'm a G" and "Feels So Right"), the album's slow, smooth, bass-heavy beats would be a good background for some baby making. That is, if you block out the fact Lloyd probably recorded these songs before he could buy cigarettes. Then again, The Inc.'s target demographic has always been the group a bit too old for Hilary Duff (if there's such a thing).
(07/29/04 4:00am)
They're almost like a Wu-Tang Clan of the suburbs. Athletic Mic League, a tight group of seven from Ann Arbor, Mich., have released its follow-up to 2002's Sweats and Kicks. However, just because AML's in close proximity to Detroit, don't expect raunchy outlandish lyrics like many of Detroit's biggest names, because Jungle Gym Jungle is a very smooth listen. No group from "Ace Deuce" could ever really get too dark or desperate since guns and violence are usually unheard of, but the music scene has always thrived.\nJungle Gym Jungle sounds mostly East Coast-influenced, with many songs sounding akin to A Tribe Called Quest or other old school right coast acts ("Take 'Em High" featuring Funktelligence, "Team Player 2," "Promised Land"). "Team Player 2" sounds like an attempt to crack some hip-hop/R&B club charts, comparing ladies to scouting NBA talent: "Asked her for her name, age and where she went to school/cuz I don't draft underclassmen." But other beats like "Whatchuknow" (with a little Kanye West feel to it) and "Lasersteps" keep the album sounding fresh. \nOne of the most striking things about AML is not only its collective skill, but an unwavering love for hip-hop itself. Because of this, Jungle Gym Jungle should be one of indie-rap's hottest albums of the year, not only in the Midwest, but across America.
(07/29/04 2:50am)
It wasn't long ago Ja Rule was boasting Murder Inc. as the "World's Most Talented Record Label." Since then, Murder Inc. has dropped the "Murder" and Ja has been dropped by 50 Cent. The well that was the Ashanti/Ja Rule duo three years ago has now dried, and The Inc. must look to the future, which is where 18-year-old Lloyd comes in. \nIn fact, Lloyd wasn't even supposed to be on The Inc., but after he recorded an album for Magic Johnson's label, things fell through and he was left shopping it around until The Inc. found him. Lloyd does in fact have some talent to bring to the table, enough to hold his own on Southside. The first single and title track is of course with Ashanti, as she helps introduce Lloyd to the mainstream. There's even a bonus remix (same beat, just with a verse from "Scarface") of the song, even though it's not exactly deserving of it. \nWhile many of the song titles and lyrics are a bit clichéd ("Feelin' You," "Hustler," "I'm a G" and "Feels So Right"), the album's slow, smooth, bass-heavy beats would be a good background for some baby making. That is, if you block out the fact Lloyd probably recorded these songs before he could buy cigarettes. Then again, The Inc.'s target demographic has always been the group a bit too old for Hilary Duff (if there's such a thing).
(07/29/04 2:36am)
They're almost like a Wu-Tang Clan of the suburbs. Athletic Mic League, a tight group of seven from Ann Arbor, Mich., have released its follow-up to 2002's Sweats and Kicks. However, just because AML's in close proximity to Detroit, don't expect raunchy outlandish lyrics like many of Detroit's biggest names, because Jungle Gym Jungle is a very smooth listen. No group from "Ace Deuce" could ever really get too dark or desperate since guns and violence are usually unheard of, but the music scene has always thrived.\nJungle Gym Jungle sounds mostly East Coast-influenced, with many songs sounding akin to A Tribe Called Quest or other old school right coast acts ("Take 'Em High" featuring Funktelligence, "Team Player 2," "Promised Land"). "Team Player 2" sounds like an attempt to crack some hip-hop/R&B club charts, comparing ladies to scouting NBA talent: "Asked her for her name, age and where she went to school/cuz I don't draft underclassmen." But other beats like "Whatchuknow" (with a little Kanye West feel to it) and "Lasersteps" keep the album sounding fresh. \nOne of the most striking things about AML is not only its collective skill, but an unwavering love for hip-hop itself. Because of this, Jungle Gym Jungle should be one of indie-rap's hottest albums of the year, not only in the Midwest, but across America.
(07/23/04 2:30am)
The Roots have a virtual monopoly on hip-hop's instrumental sound versus the endless amounts of DJs and producers. Basically anyone can make beats these days out of their bedroom, and producing continues the search for new sounds via sampling and technology. All the while, the musicians are the undisputed heavyweight champions of live instrumentation. The Roots are one of hip-hop's most important artists, and with their sixth album, Tipping Point, they continue to trail blaze. While the Roots' previous record, Phrenology, was more of an experimental record with such a wide variety of sound from heavy rock-like guitar to easier R&B, Tipping Point is a much smoother listen. Black Thought's performance on "Web" is astounding as the band simply sets a beat and takes a back seat to his torrid rhymes. Thought raps a mile-a-minute for over three minutes, hardly even gasping for breathe but staying strong throughout. "Web" rolls right into the next groove, "BOOM!" and Thought is at it again. Witnessing him perform these songs live would be worth the price of the ticket alone. These two songs were 10 years in the making, according to the liner notes, and pay homage to rap's old school rappers, including Kool G Rap and Q Tip. Like Phrenology, hidden tracks can be found following the last song, "Why." Both are hot, and the jam session that concludes the album goes from torrent beat boxing to a jazzy groove that is definitely worth waiting patiently for during the thirty-odd seconds of silence. Tipping Point does however somewhat lack a foundation or theme, something all the Roots' other albums did well (Things Fall Apart and Illadelph Halflife, especially). In fact, some Roots diehards might begin whispers of Tipping Point being a (gasp) "commercial" record. "I Don't Care" has an R&B hook that appears "dumbed down" from the Roots' usually deeper lyricism, and much of the album's sound has the potential to reach audiences beyond their current following. Oddly enough, Tipping Point doesn't have that catchy single like Phrenology ("The Seed: 2.0") or Things Fall Apart ("You Got Me") that will take them to the Top 40 realm. But despite the album's few shortcomings, nobody does it quite like the Roots. The musicians are on an entirely different level than anyone else in hip-hop, and the bar they are up against on each of their efforts is a giant leap above the rest. They will continue to keep their niche in hip-hop until another band comes along and dethrones them, which won't be anytime soon.
(07/22/04 4:00am)
The Roots have a virtual monopoly on hip-hop's instrumental sound versus the endless amounts of DJs and producers. Basically anyone can make beats these days out of their bedroom, and producing continues the search for new sounds via sampling and technology. All the while, the musicians are the undisputed heavyweight champions of live instrumentation. The Roots are one of hip-hop's most important artists, and with their sixth album, Tipping Point, they continue to trail blaze. While the Roots' previous record, Phrenology, was more of an experimental record with such a wide variety of sound from heavy rock-like guitar to easier R&B, Tipping Point is a much smoother listen. Black Thought's performance on "Web" is astounding as the band simply sets a beat and takes a back seat to his torrid rhymes. Thought raps a mile-a-minute for over three minutes, hardly even gasping for breathe but staying strong throughout. "Web" rolls right into the next groove, "BOOM!" and Thought is at it again. Witnessing him perform these songs live would be worth the price of the ticket alone. These two songs were 10 years in the making, according to the liner notes, and pay homage to rap's old school rappers, including Kool G Rap and Q Tip. Like Phrenology, hidden tracks can be found following the last song, "Why." Both are hot, and the jam session that concludes the album goes from torrent beat boxing to a jazzy groove that is definitely worth waiting patiently for during the thirty-odd seconds of silence. Tipping Point does however somewhat lack a foundation or theme, something all the Roots' other albums did well (Things Fall Apart and Illadelph Halflife, especially). In fact, some Roots diehards might begin whispers of Tipping Point being a (gasp) "commercial" record. "I Don't Care" has an R&B hook that appears "dumbed down" from the Roots' usually deeper lyricism, and much of the album's sound has the potential to reach audiences beyond their current following. Oddly enough, Tipping Point doesn't have that catchy single like Phrenology ("The Seed: 2.0") or Things Fall Apart ("You Got Me") that will take them to the Top 40 realm. But despite the album's few shortcomings, nobody does it quite like the Roots. The musicians are on an entirely different level than anyone else in hip-hop, and the bar they are up against on each of their efforts is a giant leap above the rest. They will continue to keep their niche in hip-hop until another band comes along and dethrones them, which won't be anytime soon.
(07/15/04 12:05am)
Tha Carter was supposed to be Lil' Wayne's vehicle for introspection into his old hood. The title references the building he grew up in, and Wayne's supposed goal was to take listeners back to his formative stomping grounds. \nThe idea of taking a well-needed break from bling raps and getting rich off declaring how rich he and his Cash Money constituents are is a good one. Unfortunately, this "back to the hood" theme doesn't go much further than the first track and an interlude or two. \nMannie Fresh is one of commercial rap's top producers, and as is the case with most Cash Money artists, he contributes most of the beats on Tha Carter. However, he's better at producing singles than LPs. While the set mostly misses, "This Is the Carter," "Snitch" and "Hoes" are highlights of Fresh's production. Also, since Wayne usually raps about one of a handful of topics ranging from money to the girls he gets with his money, they are the hottest tracks on the album. \nCash Money sells records off its flash and flair, not hip-hop credibility. Easily the most outlandish statement on Tha Carter is Wayne's declaration at the end of the first single, "Bring It Back," in which he states, "Best rapper alive since the best rapper retired," referring to Jay-Z's recent retirement. The funniest thing about this statement is that it doesn't even rhyme.
(07/14/04 11:37pm)
Loyd Banks is one hard dude. He's shown this on G-Unit's debut album, Beg for Mercy, and he's outdone himself on his first solo album, The Hunger for More. \nYes, he's the G-Unit man with the raspy voice, and while this enhances his hardcore image, it doesn't do much for his hooks. 50 Cent's hooks are catchy, and his lyrics are clear and flamboyant. With Banks, it's difficult to really follow his flows for an extended period of time before drifting away from his monotonous delivery. But you won't miss much when you drift back into his words, since each line usually has something to do with his latest sexual conquest or the last gat he packed. The only thing worse is when he attempts to sing his choruses -- see "On Fire" and "If You So Gangsta." \nHis production just isn't up to snuff with 50 and G-Unit's records either. Timbaland's beats on "I'm So Fly" are the most complex and melodic on the record, and even these aren't anything to write home about. \nBanks suffices as 50's right-hand man. As a solo artist, he hardly holds his own. Yes, we know you are hard, and your whole clique gets shot at. You've already established this. How about trekking into some new territory?
(07/14/04 4:00am)
Loyd Banks is one hard dude. He's shown this on G-Unit's debut album, Beg for Mercy, and he's outdone himself on his first solo album, The Hunger for More. \nYes, he's the G-Unit man with the raspy voice, and while this enhances his hardcore image, it doesn't do much for his hooks. 50 Cent's hooks are catchy, and his lyrics are clear and flamboyant. With Banks, it's difficult to really follow his flows for an extended period of time before drifting away from his monotonous delivery. But you won't miss much when you drift back into his words, since each line usually has something to do with his latest sexual conquest or the last gat he packed. The only thing worse is when he attempts to sing his choruses -- see "On Fire" and "If You So Gangsta." \nHis production just isn't up to snuff with 50 and G-Unit's records either. Timbaland's beats on "I'm So Fly" are the most complex and melodic on the record, and even these aren't anything to write home about. \nBanks suffices as 50's right-hand man. As a solo artist, he hardly holds his own. Yes, we know you are hard, and your whole clique gets shot at. You've already established this. How about trekking into some new territory?
(07/14/04 4:00am)
Tha Carter was supposed to be Lil' Wayne's vehicle for introspection into his old hood. The title references the building he grew up in, and Wayne's supposed goal was to take listeners back to his formative stomping grounds. \nThe idea of taking a well-needed break from bling raps and getting rich off declaring how rich he and his Cash Money constituents are is a good one. Unfortunately, this "back to the hood" theme doesn't go much further than the first track and an interlude or two. \nMannie Fresh is one of commercial rap's top producers, and as is the case with most Cash Money artists, he contributes most of the beats on Tha Carter. However, he's better at producing singles than LPs. While the set mostly misses, "This Is the Carter," "Snitch" and "Hoes" are highlights of Fresh's production. Also, since Wayne usually raps about one of a handful of topics ranging from money to the girls he gets with his money, they are the hottest tracks on the album. \nCash Money sells records off its flash and flair, not hip-hop credibility. Easily the most outlandish statement on Tha Carter is Wayne's declaration at the end of the first single, "Bring It Back," in which he states, "Best rapper alive since the best rapper retired," referring to Jay-Z's recent retirement. The funniest thing about this statement is that it doesn't even rhyme.
(07/01/04 4:00am)
Jadakiss' second album, Kiss of Death, has the potential to move him beyond the pack to the top of rap. As the Lox slowly lose steam as a group, it's time for him to step up to the buzz he got from his first solo record, Kiss tha Game Goodbye. \nJadakiss mixes his hardcore east coast delivery with some R&B. Pharrell, Mariah Carey (Who really can't sing anymore, as evidenced by "U Make Me Wanna," which serves as further proof. Why do rappers elevate a Mariah record, yet whenever she's featured on a rapper's song, it's garbage?) and Nate Dogg sing a few bars, and the current single, "Why," featuring Anthony Hamilton, is a refreshingly political single with lyrics you can actually listen to. \nProduction credits on Kiss of Death are a who's who in the lab right now, including the Neptunes, Kanye West, Eminem and Ruff Ryders' go-to guy, Swizz Beats. Jada holds his own on the mic too, despite appearances from Snoop, Sheek, Styles, Eminem and Kanye. \nWith former Ruff Ryder head honcho DMX currently on hiatus from rap, the stage appears set for Jadakiss to carry the torch. He even admits he gets more love on the east coast than the west, but Kiss of Death should reach a few more ears and get him one step closer to rap's A-list.
(07/01/04 3:52am)
Jadakiss' second album, Kiss of Death, has the potential to move him beyond the pack to the top of rap. As the Lox slowly lose steam as a group, it's time for him to step up to the buzz he got from his first solo record, Kiss tha Game Goodbye. \nJadakiss mixes his hardcore east coast delivery with some R&B. Pharrell, Mariah Carey (Who really can't sing anymore, as evidenced by "U Make Me Wanna," which serves as further proof. Why do rappers elevate a Mariah record, yet whenever she's featured on a rapper's song, it's garbage?) and Nate Dogg sing a few bars, and the current single, "Why," featuring Anthony Hamilton, is a refreshingly political single with lyrics you can actually listen to. \nProduction credits on Kiss of Death are a who's who in the lab right now, including the Neptunes, Kanye West, Eminem and Ruff Ryders' go-to guy, Swizz Beats. Jada holds his own on the mic too, despite appearances from Snoop, Sheek, Styles, Eminem and Kanye. \nWith former Ruff Ryder head honcho DMX currently on hiatus from rap, the stage appears set for Jadakiss to carry the torch. He even admits he gets more love on the east coast than the west, but Kiss of Death should reach a few more ears and get him one step closer to rap's A-list.
(06/24/04 4:27am)
So did you hear the bad news? No Limit Records is bankrupt. Yes, maybe Lil' Romeo wasn't the edge they were in such dire need of anyway. Master P's label, the pioneer in the "bling-rap" genre, is rolling the tank on its merry way to greener pastures, ones thick with daytime cable appearances. \nIt'd be easy to kick P while he's down, if you want to call a $300 million-plus net worth "down." But that'd be easy. Instead, why don't we celebrate the near-decade of No Limit glory, when "Ugh!" wasn't just something you did after eating bad sushi. \nIntroducing the No Limit Tribute CD, complete with all the songs that gave No Limit its identity. Yo, P! Distribute this puppy and you're sure to add another zero to that bankroll. Ya heard!? Below are the cuts that'd make the cut.\n"Make Em Say Ugh" -- This classic was included among Blender's "50 Most Awesomely Bad Songs" list. But you know what comes right before bad? Awesomely! Yep, the song's gotta be awesome to be bad, and "Ugh" is awesome to a tee. The video was ridiculous, and distributed No Limit to the masses. Big things happened as a result of this song for No Limit, and this was likely the peak of its "pop" success. \n"I Can Tell" -- Pop music has produced some sweet duets: Sonny and Cher, Marvin Gaye and Tammi Terrell, heck, even Mary J. Blige and Method Man's "You're All I Need" was ghetto-sweet. Add Jamo of 504 Boyz and Mercedes to that list. All you need to know is in the chorus: "You ain't gotta say too much/from the look in your eyes I can tell you wanna fuck." It's beautiful…\n"It Ain't My Fault" (Remix) -- Silkk the Shocker and Mystikal did this one. Mystikal's dropping of "Did I do that?" in the hook changed the game, bridging dirty south with Steve Urkel. Soon after, Mystikal left No Limit for Jive Records and better production in hopes of making more money. Today, the only place he shakes his ass is in the slammer for sexual assault. \n"I Got the Hook Up" -- You saw the movie, right? It may not have been a classic, but it was certainly an entertaining hour and a half, complete with mentally challenged gangs on bikes. P and friends went the R&B route on this one and it got serious airplay. The soundtrack itself wasn't half bad, even though I admittedly sold it back a few years ago in need of loose change for a Polar Pop. \n"Still a G Thang" -- Snoop Doggy Dogg was in trouble. His label was in the pits, his homies were getting shot, Dr. Dre had bounced outta the gangsta rap scene and the law was on Snoop's doorstep. Without a record deal, P extended his hand, or shall I say tank, to him, and that's how the "Doggy" was dropped from Snoop Doggy Dogg. "Still a G Thang" revived his career, reminding everyone of his earlier successes. Two Dre-less, horrible records off No Limit ensued, until Snoop and P parted ways. Both were better off as a result. \n"Bout it, Bout it" -- "Bout it, Bout it" was the biggest smash of the early No Limit days, and was one of the catchiest, most-used phrases by middle-class white kids in sagging jeans for years. \n"Wobble Wobble" -- A pretty sad attempt at chasing a hit single. No Limit was most likely sick of all the chart-topping success of rival label, Cash Money, and wanted their own piece of the pie. For as much as Cash Money is everything wrong with hip-hop today, its production with Mannie Fresh was always a little better than No Limit's no-name's and its choruses always seemed to move a crowd. That's all the credit I'll ever give to the self-proclaimed billionaires. Just another case of rappers getting rich off saying they're rich. \n"My Baby" -- Lil' Romeo coming onto the scene had his pops calling it the "future soldier of No Limit," but Romeo probably signified the end. The single made them some money, but their street cred was all about gone by now. It's pretty tough to rap about guns and crack and even tougher to believe it after your baby boy is on the scene. But the single did it's job, hitting #1 on the charts and fitting P's image for the Nickelodeon staple, "Romeo!." Do you think anyone who watches that network has heard "Burbons and Laces?" \nToday, there is no longer a No Limit Records. There's a New No Limit Records, comprised of P, Lil' Romeo and Silkk, but don't expect much more to come from the tank. There'd be a bit of an identity crisis at this label, one which made its success from "ice cream"-selling stories and tales from the Third Ward projects, to Lil' Romeo and daddy P staring on Nickelodeon (in one of the highest-rated shows on cable). Every time I see Master P on that show, it makes me want to forget the days when we'd all be driving to high school blasting Ghetto D, rolling to: "if you want me come get me/how the fuck you gon' take me/I got my true niggaz wit me and we ridaz"
(06/24/04 4:00am)
The first season of "Curb Your Enthusiasm" was great, the second is classic.\nJust like Larry David's "other" big show, "Seinfeld," "Curb" is getting better with age as Larry grows more agitated. \nThe two-disc set has Season Two in its entirety: ten episodes split between two DVDs. Somewhat of a bummer, however, is the lack of any extras, such as interviews or episode analysis. \nSeason Two, which is defined mostly by Larry struggling to find a new gig in L.A., has some of the best "Curb" episodes to date. \nThe opener, "The Car Salesman," fulfills Larry's lifelong dream of selling cars. After running into a friend of his agent who owns a Toyota dealership, Larry gets an audition in the showroom, which of course doesn't last longer than zero sales in two days. \nThroughout the first episodes of the season, which like all "Curb" seasons follows a specific theme throughout, Larry teams with Jason Alexander to pitch a new show. Larry strikes gold when he realizes he and Jason (who played George Costanza on "Seinfeld") could play a distraught actor struggling to find work following the success of a mega-hit series, much like the real-life scenario. However, plans are never solidified, because the two can't decide in who's office to meet. \nL.A. Lakers fans, despite their recent drubbing to the Pistons on the hardwood, even have something to cheer about in Season Two. Larry gets two front row tickets to a Lakers' game, only to trip Shaq when he stretches his feet. Shaq is sidelined with a foot injury, but lucky for Larry, he's a huge "Seinfeld" fan. The two end up bonding in the hospital, watching reruns of "Seinfeld" and playing board games. \nThe true brilliance of "Curb" isn't in the plotlines themselves or the twists and turns, which almost always resort to Larry defending himself. The brilliance is in the fine detail Larry picks from everyday life, whether it's cut-off times for calling friends at night or why he shouldn't have to give candy to teenagers without costumes. Larry is the consummate conservative, stuck in his ways until he is exiled out of the Hollywood inner circle.
(06/24/04 4:00am)
There's nothing more pathetic than an aging hipster," recalled Dr. Evil in "Austin Powers." What Evil didn't follow up with is how endearing it is when an old hand holds his own, which is exactly what hip-hop veteran Erick Sermon continues to do on Chilltown, New York, the follow-up to 2002's React. \n"Chillin'" is by no coincidence the standout track on Chilltown. "Chillin'" samples the Public Enemy/Anthrax team-up "Bring the Noise" and features fellow vet Talib Kweli and up-and-coming female rapper Whip Montez. Another potential hit resides in his sample of Sean Paul's "Like Glue," dubbed "Feel It." \nSermon did the whole shebang on Chilltown, from executive production to, of course, rapping. His rap style isn't as flashy as the new guard, and his production doesn't have the cutting-edge flair as some of the super-producers, but it all works nonetheless. He raps as though he's hip-hop's older, wiser brother who warns and advises his young pups as they bask in hip-hop's current limelight, often mocking cats in the game chasing the paper trail. \nHis skit, "Matrix," compares the music industry to taking the blue or red pill. Take the blue pill like Sermon, and you won't sell shit, but you'll keep making records and be happy. Take the red pill and you'll move units but get no respect -- he cites Hilary Duff as an example -- the nerve of him to think that.
(06/24/04 4:00am)
The first season of "Curb Your Enthusiasm" was great, the second is classic.\nJust like Larry David's "other" big show, "Seinfeld," "Curb" is getting better with age as Larry grows more agitated. \nThe two-disc set has Season Two in its entirety: ten episodes split between two DVDs. Somewhat of a bummer, however, is the lack of any extras, such as interviews or episode analysis. \nSeason Two, which is defined mostly by Larry struggling to find a new gig in L.A., has some of the best "Curb" episodes to date. \nThe opener, "The Car Salesman," fulfills Larry's lifelong dream of selling cars. After running into a friend of his agent who owns a Toyota dealership, Larry gets an audition in the showroom, which of course doesn't last longer than zero sales in two days. \nThroughout the first episodes of the season, which like all "Curb" seasons follows a specific theme throughout, Larry teams with Jason Alexander to pitch a new show. Larry strikes gold when he realizes he and Jason (who played George Costanza on "Seinfeld") could play a distraught actor struggling to find work following the success of a mega-hit series, much like the real-life scenario. However, plans are never solidified, because the two can't decide in who's office to meet. \nL.A. Lakers fans, despite their recent drubbing to the Pistons on the hardwood, even have something to cheer about in Season Two. Larry gets two front row tickets to a Lakers' game, only to trip Shaq when he stretches his feet. Shaq is sidelined with a foot injury, but lucky for Larry, he's a huge "Seinfeld" fan. The two end up bonding in the hospital, watching reruns of "Seinfeld" and playing board games. \nThe true brilliance of "Curb" isn't in the plotlines themselves or the twists and turns, which almost always resort to Larry defending himself. The brilliance is in the fine detail Larry picks from everyday life, whether it's cut-off times for calling friends at night or why he shouldn't have to give candy to teenagers without costumes. Larry is the consummate conservative, stuck in his ways until he is exiled out of the Hollywood inner circle.