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Wednesday, March 21, 2018

[Album] BISHOP NEHRU - "Elevators 1 & 2" (w. DOOM & Karytrananda)

I was a fan of Bishop Nehru's Mass Appeal released debut "NehruvianDOOM", a 10 track offering that saw the 19 year old New York emcee team up with the mythical MF DOOM to create the soundscape for the entire project. Now he is back with an equally impressive feature as he releases "Elevators 1 & 2". As the title implies its one project but with two distinctinctive part, labeled as Act 1: Ascension. This part is entirely produced by the always interesting Karytrananda. Act II is entitled Free Falling and sees the young emcee team up with MF DOOM again for all the songs in this section. Very creative, very interesting, and very worthy of your time so check it out below.

[EP] Sean Price / Illa Ghee - "Metal Detectors"

We've lost way too many rhyming legends the past couple of years and we see the reminders now and again. Luckily this time its at least a positive reminder, an unreleased EP that Sean Price worked on shortly before his death that let us remember how incredibly dope he ALWAYS was on any project. The man had an incredible work ethic, after his passing we quickly got "Impreius Rex" which shitted on most artists entire output and there are rumoured finished products with Lil' Fame and 4th Disciple, respectively. He also worked a lot with Illa Ghee during his last few years and they were actually working on put out an EP that they were more or less able to complete before Sean was taken from us. The project is called "Metal Detectors" and over 8 songs it features the duo going back and forth over sold production and guest spots and cameos from Michael Rapapaport, Royal Flush and Rim. Check it out below, stream and then support @ iTunes.

Tuesday, March 20, 2018

[Comp] CRAIG MACK - "That '94/'95 Bad Boy In Ya Ear"

It's always sort of shameful to give artists their due props and their roses to smell only after they passed away. But in the case with Craig Mack there's no question that he put Bad Boy Records on the map with Sean Puffy Coombs and The Notorious B.I.G. in 1994/1995 and aside from an ill-fated comback album with Eric B. as in '97 he laregely dropped out of the public eye. So we love Craig Mack mostly because of those records he laid down for Bad Boy back in its heyday.

It's pretty crazy looking through the discographies of BIG and Mack and see how right from jump the spotlight was always on BIG. Of course Biggie was B.I.G. but you sure get the feeling they kind of did Mack dirty, like that hilarious but sad clip of Puffy straight up lying to MTV cameras about having a new Craig Mack album being recorded and set for release in January - something that was obviously news to Mack. As a rightous man (listen to a song like "When God Comes", perhaps my personal favorite in all of Craig's catalouge) I don't think the industry politiciking on the side was worth it for him.

Anywyay it's been at least a year since I came up with a decent comp and as O-ren Ishii would say "NOW IS THE FUCKING TIME". All songs on this is tracks that was recorded during Mack's Bad Boy stint either as a B-side to one of the singles, a remix by The Hitmen, a guest apperance, a freestyle session or a soundtrack joint. Pretty short but sweet, so enjoy and as always TURN IT UP!!!

01. Mary J. Blige Ft. Craig Mack - "You Don't Have to Worry" [Eddie F remix]
While Mary J. was certainly one of Puff Daddy's artists who he helped managed and form she was a holdover from his Uptown days as she was never never really signed officially to Bad Boy. In 1992 she released her slamming debut album "What's The 411?" that Puff helped produce and featured a heavy dose of Mary's incredible soul mixed with a hip hop sensibiility by inviting prodcers and emcees to appear in the studio such as Busta Rhymes. Grand Puba, Mack, Kid Capri as well as cameos by royalty like CL Smooth, DJ Red Alert, etc. Mary blew up with her debut so it was a smart business move of Puff to put Craig Mack on the remix to the already loved "You Don't Have To Worry", remixed to bring out the Hip Hop sound by Mt. Vernon's Eddie F., the "leader" of The Untouchables production crew that around this time also included DJ Pete Rock. Solid track for sure!

02. Craig Mack - "Flava in Ya Ear" [Nashmack Remix]
A darker, more brooding remix from the 12" single that while not being as dope as the original (really what is?) laced by Nashiem Myrick - who's always been my #1 Hitmen a long with his partner in crime Carlos Broady, The bass is straight up nasty and the ocassional guitar breakdown and new ad-libs makes this a must hear for Craig's Bad Boys era fans.

03. Craig Mack - "Shinika"
This track appeared on an early sample tape for "Project: Funk Da World" but must have been decided to be cut loose sometime between then and release date. Luckily this short but sweet jam wasn't lost to time as Craig instead decided to put it on various versions of the "Flava in ya Ear" single (and there was a lot of them). Produced by Kenyon Smith and Craig Mack himself this is classic Craig Mack that could easily have fitted on the LP.

04. Craig Mack - "Get Down" [Q-Tip Remix]
This will forever go down in Hip Hop history as one of the illest remixes of all time, in such company as Pete Rock's "Represent the Real Hip Hop" for Das EFX and the Bad Boy remix of "You're All I Need" by Method Mna and Mary J. While Easy Mo Bee's original was a solid as hell album track, The Abstract incorporates everything that made him one of the sickest '90s Hip Hop producer the world ever saw. The brooding bass incorporates a bit of mystery, the horns accellerates it, the turntable work is immaculate and the jaz flavor of the synthesizers/electric piano melody really brought it all home. And both Q-Tip and Craig Mack were damn abstract rappers so hearing htem together here is sure as hell a joy.

05. Craig Mack / The Notorious B.I:G. - "Let Me Get Down"
Bringing out and marketing two Hip Hop artists on your label during roughly the time it shoud be a no brainer to have the two artists appear on each other album. As has been documented before Mack resented the favoritism that Puffy showed B.I.G. and judging from interview clips with the deceased legend he didn't have much charisma with Mack to begin with. So when their respective albums were relased within a week of each other, not one collaboration was to be found (there was of course the "Flava in Ya Ear" renix featuring Biggie but they more or less sounded like they were going for each other's throats on there). Luckily for we Hip Hop historian buffs Puffy actullly managed to get the duo in the studio to organize a recording one time. Its a rough typical '90s boom bap joint called "Let Me Get Down", possibly concocted by Easy Mo Bee, and I do like how their voices compliment each other. Was this an early demo version of "Let Me Get Down" or not? Was it recorded with "Ready to Die" or "Project..." in mind. Who knows? Lets just be thankful that this piece of Hip Hop histori exits.

06. Craig Mack & Notorious B.I.G. - Tim Westwood Freestyle
Following up that demo joint above, in further promoting the launch of Bad Boys and the just released album the two emcees and on August 19, '94 Puffy stopped by Tim Westwood's radio show to spit some heat for the UK listeners. Its a historical moment where Biggie incorpoartes lines from joinr like "The Points", "Think BIG" and "Oh My Lord"). The entire session is 18 minutes. Listening to this it's quite clear that there was no dark conspiracy pushing Mack out of the limelight, BIGGIE was just one aof a kind. The compilation version is 5 minutes in length but I strongly suggest you check out the entire thing over @ Youtube thanks to user Masar TV for allowing us all to hear this legendary Hip Hop moment... and oh yeah, TURN IT UP!!!

07. Craig Mack - Do You Have What It Takes?

If you like me and my crew up in the early-to-mid-'90s then I'm willing to bet my copy of "Project Funk Da World" that you til' this day have very fond memories of that excellent 8 bit beat 'em up fame. I can assure you that a lot fewer f us have any redeeming memories of the 1994 movie cash in with Jean Clause Van-Damme and Raol Julia. However as was often the case in the mid-'90s suited boardmeeting fucsk had come to the realization that kids will be fooled into thinking the film is cool if it is "endorsed" by talented emcees and singers. Enter 1994:s "The Street Figher" sondtrack which in many ways is actually better than most. Not did it only fetures this rock solid Mack jam, but one of the extremely few Nas' solo joints recorded around the time of "Illmatic" to not make ratherthe  Other highlights include LL CoolJ's except "Life is..." and one of the fist joints by disbanded supergroup that included Xzibitt, Ras Kass and Saafir. Well worth tracking down..The movie not su much!

08. Boyz II Men - "Vibin' (New Flava 2) w. Craig Mack, Method Man, Treach & Busta Rhymes)'
Another beautiful thing we miss from the '90s is the rugged posse cut and the R&B / hardcore Hip Hop collaborations that didn't sound like label intervenions at all. This little known trck is actually one of my favorite posse cuts of the era. You got a pounding, pretty hard bet with guitar stbbs and scratches but at the same timr√© it's matched well with a beutiful melodic jazz sampes that does both the emcees and Boyz II Men a favor, The song appeared originaly appeared on a "rare" Boyz II Men single for "I Remember" but shorlty after was given the wide relesase it deservered on their official album collection "The Remix Collection" - this particular version was  a remixed version by Tim & Pop of the gros original work. What might be less known is that there's even a full-length video made for this (see above).

09. Sista - "It's Alright" (Ft. Craig Mack)
Now this joint is interesting from several stanpoints. If you don't know your Hip Hop history you might have gotten the impression that Missy Elliot more or less was an overnight sensation. So was not the case at all. Just like Craig's solo cut "Do You Got What It Takes" tthis appeared both as a s
single as a song in the movie. It was all blessed with two equally dope version. One produced by DJ Evil Dee and the remix handled by Fredwreck who was then pretty mcuch an unkown up-and-comer but his seamless blending of gritty New York srttyle hip hop and the more laid back L.A. cultural music has by now made him a household name and one of the go to guys for peeps like Snoop Dogg, Soul Assassins and even Die Anrword. I'm including both versions here so you can make up your own mind.

10. Brownstone Ft. Craig Mack - If You Love Me [Street Vibe Version]
This is strictly for completists, you might even want to skip this one after Craig's verse in my opinion. It's one of those dussin songs by all those dussin R&B-bands that popped up in the mid-'90s and wanted to be a little street in their image. Produed by Dave Hall.

11. Craig Mack, Notorious BIG, Biz Markie, Mic Geronimo, Busta Rhymes & Rampage - Club Free '95

This is a crazy Club Freestyle that should have any head go absolutely crazy if you're not familiar with tht. DJ Clue and Ike Love is the host for the night, a New York club in 1995, with all the emcees being hyped as hell. Biggie absoltutely murders this andhas loads of sick lines I never heard him use elsewhere.

12. Craig Mack Ft. Notorious BIG, LL Cool J, Rampage, Busta Rhymes - Flava in Ya Ear
Of course we must include this. One of the best posse cuts of all time,hell maybe one of the best hip Hop tracks of all time nnd they ALL WENT IN!

13. Sista Ft. Craig Mack - "It's Alight" [Fredwreck Remix] [*]
The remix to the aforementioned track. Just one more thing about the group Sista. They were a quartet of singers in the early '90s tht released a full-length in 1993 - before that they were knoewn ´Fayze. Their one and only album, 1993 "4 All Da Sistas in the World" was mainly produced by a certin Timothy Mossley (son to be known as Timbaland). So Missy Elliot, who then went by Sista, was the emcee of the crew before she decided to go for dolo. Like  I said above this is the same joint remixed by Fredwreck, a very early placement for him.

14. Craig Mack - "Flava in Ya Ear" [Easy Mo Be Club Mix] [*]
Another remix culled from the original 12", keeping the man parts intact but adding some new depths as well. Easy Mo Bee was a monster back then!

CRAIG MACK - "The Bad Boy Flavor in Ya Ear..."

Saturday, March 17, 2018

[Album] CRAIG MACK - "The Mack World Sessions"

This album compilation passed a lot of heads without further notice when Craig Mack self-released it on his own digital label in 2017. To tell you the truth I wasn't even aware of this release when it dropped amd only came across due to his untimely passing. However looking through the tracklist I see that this is not a newly recorded joint but rather a collection of all the rare 12" singles and their B-sides he dropped in gearing up for his third album which would probably find its way to stores between 2000 and 2005. After Bad Boy cut him off after giving them their first grammy nominated and platinum selling he found a new home on StreetLife Records for his sophomore, and pretty lackluster, '97 joint "Operation: Get Down". Despite being overseen by Eric B. and featuring production by Ty Fyffe, Al West and Johnny "J" the LP flopped hard.

So it's not suprising that Craig Mack decided to leave all the glamor, glitz, A&R:s and major labels behind to focus on his third album. Unfortunately it doens't seem to have been completed, but through his work with proucers like K-DEF, The 45 King, Self, Hot Runner, Minnesota and J-Force. Though many of these songs appeared on rare White Label 12"s, the album never manifested.  Until last year that is - Craig Mack himself released the majority of these songs, sequenced as a proper album and given the title "The Mack World Sessions". This is interesting as many of the WLB singles was released under umder a "MackWorld" label, created especially for these releases. Perhaps Craig knew he had little time left and wanted to get the music he once worked hard for out there for the people to soak in. Enjoy and Rest in peace to a legend that was quickly forgotten.

Friday, March 16, 2018

[Audiobook] U-God is RAW

As most of you probably know U-God of Wu-Tang Clan has just released his memoir, entitled "RAW" on Picador USA (Faber & Faber for the UK/Europe market) and as this is the first true biography of one of the original members of Wu-Tang Clan people should flock to the stores or online places to pick this up. I received the hardcopy US version in the mail today and it looks very professional and from what I heard it's an exceptional book so I really think you should "Hurry up and buy". Filled with anecdotes, the story behind the workings of the Clan and an autobiography of Lamont Hawkinx from when he was young to today. This is a must have for any Wu fan and there's even an audiobook read by Uey himself on there. Here's an audio exceprt to have your mouth watering: Check the snippet below and order the book from your usual bookstore: You can book from Amazon amogst other retailers.


NPR has recently become a brand to count on when it comes to releasing quality, exclusive Hip Hop. Not only are they often getting the rights to preview albums in full a week ahead of release but their Tiny Desk Concerts that drop every Friday or so is ust marvellous. Check out this entry from February 26 where they invited Big Daddy Kane for a set in that tiny office. The legend rips through classics like "Smooth Operator"; "Raw" and "Ain't No Half Steppin"'. And as usual he does it flawlessley as far as flow is pertained. Backed up by musicians Anthony Hardy, Matt Lambert, Benjamin Geils, Judon Nelson and John Williams this is one you don't want to miss out on.

And on top of that, in case you missed it, DJ Premier (amongst many others) swung back the small "studio" to deliever an absolutely mindblowing set using his live band that he is currently working with (The Badder Band). With live instruments like trumpet, trombone, electric bass, live drums and turntables these Preemo classics got a fresh interprettion. This might very well be my favorite out of the NPR Tiny Dish Concerts so be sure to prees play and play it LOUD. "Da Bichez" is out of htis world.

NAS & The National Symphony Orchestra - "Illmatic"

This premiered a while ago but I haven't had the time to post this yet, but let me tell you that you're doing yourself a huge disservice if you sleep on this. NAS was invited to be a part of the PBS' show "Great Concerts" back in 2014 - a program/concert series that link up legendary artists from different genres to perform their masterwork backed up by a full sympony orchestra, in this case the National Symphony Orchestra usually heard at the Kennedy Center. PBS sponsors the concert and also broadcasts it and for this installment they got what I believe is the first Hip Hop artist to be a part of the program - and of course it was Nasty Nas and his delivery of the timeles "Illmatic" album. Sometimes a full-orchestra and the heat of the moment sucks away all of the magic that made the original gritty piece what it was - not so here. Interspersed with small interview segments and vocal clips between most of the songs the acutal music proves why "Illmatic" has stood the test of time and should be considered by everyone as just as important as albums like Sly & The Famiily Stones' "There's A Riot Going On", Beatles' "Revolver", "OK Computer" by Radiohead, "It Takes A Nation..." by Public Enemy, and David Bowie's "Low" to name a few.

Here Nas, dapperly suited, standing in front of a huge orchestra, also backed up by what's more aking to a jazz quartet and a DJ, put further notice that he still is the greatest and that his debut still holds up as Hip Hop's crowning achivement. Hearing a live rendition of the LP with a huge instrumental barrage is further proof of that. Be sure to watch this while It's still available. Unfortunately PBS will only let you watch it if you're in the US but luckily anonymous YouTube user LonnieMac has supplied the rest of us with a HQ rip of the entire 52 minutes set. Don't sleep, this is Hip Hop history in the making!


Although NPR had the exclusive rights to preview DJ Premier and Royce Da 5'9"'s new album in its entirety a week early its actual release date is today (2018-03-16) and can now be bought on both 2xLP or CD. Preemo and Royce Da 5'9" is somehwat of a match made in heaven and has constantly killed shit since back in 2001 when the team let loose of the underground classic "Boom" and the not so intriguing album cut "My Friend" (where Royce mistreated a slamming Preem beat by talking about his Johnson for four minutes). Since then Premier has appeared on the majority of Royce projects, often being behind the LP:s best tracks. It wasn't until the excellent Freestyle tape "The Bar Exam Vol. 1" and later "Street Hop" that you truly saw the immense potential a full collaboration between the two promised. "Street Hop" was marketed as a modern East Coast classic featuring 6 Preemo productions out of the 18 tracks featured on the  LP. For some reason when we finally got our hands on it, there were only 3 Preemo cuts left. And although they all were solidified it came off as a dissapointment. The reason we ended up with that trio is that one couldn't get past sample clearances and the other two had been lincensed to and issued on the Game Recordings label. The double-A side single featured the Preem/Royce bangers "Ding!" and "Hit' Em Up" which really would've worked wonders in making "Street Hop" (which was not a bad album at all anyway) even more street.

So in 2014 finally these two legends got together to release a full-length album under the group name of "PRhyme". With only 9 songs it was a front-to-back LP that both rhymewise and with itsproduction took it straight back to the essence and was undoubtedly one of the best albums of the year. The idea was not to release any standard rap record but in challenging themeselves the entire project was created using samples from the extensive catalouge of Adrian Younge, kind of how Danger Mouse did it with The Beatles for "The White Album" - but with permission of course. Not to mention that they released a deluxe edition adding 4 additional songs once again killing Adrian Younge samples while inviting legends like Black Thought and Phonté. It certainly helped bring that East Coast boom bap back and was true to form one of the best New York albums of the year.

The question is if the duo can do it again - we know of course that when Premier and Royce get together they can make excellent Hip Hop music. But part of PRhyme is that it's a challenge; all beats and samples has to be chopped from a current artist. And since Arian Younge isn't super prolific compare to many of his peers, this time they have gone with Philly based Antman Wonder who shuns samples in his beat making process. What's cool about Antman Wonder is that he doesn't fuck with no fisherman price Casio type of beats but actually stay true to dusty boom bap type beats but completely without samples. Matter of fact, he even made an ode to "Reasonable Doubt" with Skyzooo that way a few years ago.

So just like for the first PRhyme, it's all about live instrumentation from the original sampled artist with Premier chopping it, adding his turntable work, his unmistakable drums and giving it that classic Gang Starr vibe, Still, Antman and Younge are two very different artists so the projects are really quite different and might be a question of taste. Personally I like both a lot but I'm a sucker for Younge's lush soulful soundscapes that volume 1 had to offer. But I was also much more familiar with the original samples there so it could very well be that I need some time to adjust. Save for Rapsody, Roc Marciano (and occassionally) Cee-Lo Green) the guests aren't really my cup of tea. Fucking Yelawolf? 2Chainz? Big K.R.I.T. (i know a lot of people dig him, but I just can't get into him).

Still, it's almost a 60 minutes project and Royce is killing it, Preemo is mostly killing it and I applaud the brothers for trying something different. I have a feeling this will stay in rotation a while and will mostly gets better on each spin so I'm positive on this release. While its no "Daily Operation", "Livin' Proof", "The Sun Rises in the East" or even "Tha Blaqprint" it's a must hear for any serious Hip Hop head so my rating is a somewhat weak 4/5. Don't sleep!

P.S. - A fun tidbit is that this is not the first time DJ Premier and Antman Wonder have worked together, back in 2013 when Skyzoo and Torae dropped their "Barrell Brothers" project, the best song ont the album ("The Aura") was actually produced by DJ Premier and Antman Wonder and it sounded marvellous.

You can pick up the album @ UGHH, HHV, iTunes or

Monday, February 26, 2018

The FIRM - What's the verict?

The Firm album had a lot of things working against it at the time of its release. For one thing Hip Hop was just moving into the shiny suit era where popping cristal and living "the good life" was on constantly being flashed. Now granted a mafioso rap record inspired by Martin Scorse and "Scarface" could definitely get away with spending large money on champagne, fine cuisine and poppin' tags. but it was the shiny suit type beats that didn't work at all. Luckily for every "Firm All Stars" or "Fuck Somebody Else" there as a "Firm Fiasco" or a "Desperados". Secondly these were all New York cats, and some of the hottest cats on the streets at that particular moment at that, yet it was released and co-executive produced by Dr. Dre. This is not a knock on Dr. Dre but we all know that he was in between signture sounds from between his Death Row days and what would become his Aftermath/"2001" sound. That's not to say that Dre didn't deliver bangers but this was a point where everything he touched didn't turn to gold. There's excellent Dr. Dre productions on The Firm album, whcih in fact was the first Aftermath LP, such as "Phone Tap", "Firm Fiasco" and "Untouchable" and these is the type of records we wanted an entire The Firm album to sound like - nothng but street shit. Unfortunately that's only about 50% of what we ended up getting.

The other half of the production team and the co-execs were The Trackmaster who had a long standing relationhip with both Nas, AZ and Foxy Brown at this point but would also go on to manage Nature for his debut album on Colombia in 1999. Granted we can't lay the blame on The Good Doctor's doorstep, neither can we lay it at the extended Trackmasters family (Poke, Tone, L.E.S., Curt Gowdy and Dave Atkinson). Because both teams made great music for the project, and both teams made some equally weak music for the projet as well. If anything I think both the pros and cons should be shared equally between all the major players involved (Dre and his production team, The Trackmasters and their production team, Nas, AZ, Foxy and Nature).

What bugs me is that this could've been a true street classic that would be remembered to this day as a great follow-up to "It Was Written", but it just wasn't to be. Let's start with the negatives and build from there - while AZ absolutely murdered all of his verses, Nature did a good job and Foxy was being Foxy, Nas was occassionally phoning it in but to be fair he did have some excellent verses along the way. Second all the skits beside the intro and maybe one more could easily have found its way to the trash can. Biggie started the stupid sex skit on an Hip Hop album, but seriously who the hell want to listen to AZ or Foxy Brown fuck on record? Nature was dope on this LP so I'm not even going to mention the Cormega connection or what could have been as a negative. What I will mention is the several songs that were either delted from the final tracklist or appeared on B-sides or mixtapes and that could have made the LP a whole lot stronger. But we will get to all that later.

The album had the mafiosos concept set up all the way back with "Affirmative Action" ('It Was Written') and "La Familia" ('Ill Na Na') and the album starts of brilliantly in this fashion with the intro, "Firm Fiasco", the excellent "Phone Tap" and "Executive Decisions". This is quickly then derailed with sugar coated BS like "Firm Family", "Firm All Stars" and "Fuck Somebody Else". However for the first four songs we are on our way to a classic album, Dr. Dre really did his thing on "Phone Tap" and "Firm Fiasco" mainly working together with Chris "Glove" Taylor wo's been around since 'The Chronic' days. The drum programming is straight slamming, the guitar melodies and the occassional electric piano chords and female vocalizations make both "Phone Tap" and "Firm Fiasco" nothing short of Dre classics. And while "Firm Fiasco" is a great introduction to the crew by Foxy, Nas and AZ (god damn, did AZ not murder that verse) but it's "Phone Tap" that is the lyrical masterpiece with Nas and AZ going back and forth over a tapped phone, with the two trying to talk through the static without incriminating themeselves. Dr. Dre plays the phone-tapping fed on the hook here,

"Executive Decisions" is the exact type of shit this album should've sounded more like as it's similiar i vibe and style to both "Affirmative Action" and "La Familia". Nas has a sick opening verse and the hook is straight up crack over those lovely strings but it might just be Nature who shines the brightest here. That is until you hear AZ's unbelivable flow that is though. All in all a monster of a record and at this point people had all the expectations in the world that this LP would be solid as hell.

So then we get to "Firm Family", a Dre produced collaboration between Nature and Dre. This isn't actually a bad record, but it's a Dr. Dre record, complete with the West Coast vibe and live instrumenttion by Sean Cruse (guitar), Kamara Kambon (keys), Jerry Moore (flute), Mike Elizondo (bass) and a summer-type cookout vibe interpolation of Sexy Mama by The Moments (1973). Both Nature and Dre does a good job but once again this should never have been on The Firm record. We needed beats like the three preceeding joints, "Affirmative Action" or "East Coast / West Coast Killaz". Oh well, at least it's a decent summer jam.

Well The Trackmasters sure ain't going to be worse for wear in producing something godawful that have absolutely no business on the album. Unlike "Firm Family" which was actually a tight joint on its own, "Firm All Stars" is The Trackmasters getting jiggy with it and though Nas is on the hook the verses comes courtesy of Foxy Brown and her little brother Pretty Boy. They had joints like "Time" and "State Vs. Sosa" and they thought this wa the way to go? What the actual fuck!

"Fuck Somebody Else", another Dre production, another Foxy Brown solo song. I don't know what the hell these guys were thinking here becasuse this is just wack. It's of course an interpolation of "You're Gonna Make Me Love Somebody Else" by the Jones Girls from 1979. This ain't no Firm shit!

"Hardcore" is once again Poke and Tone getting jiggy with it while Esco and Foxy is going back and forth. While the beats are a little to radio friendly circa '97 for my liking I can dig this as Nas and Foxy got bars on here. And speaking of bars the next joint is really an interlude produced by Dr. Dre and Mel-Man called "Untouchable" featuring a verse Nas ghostwrote for Hose of The Bravehearts. Why the fuck didn't thiey give this the song full treatment, it's that ill.

"Five Minutes to Flush" is Nature solo song, and a concept song at that. As Dre was constantly doing around this time he made interpolations of classics (sort of like Puffy but way better) and here he and Glove is remaking "Five Minutes of Funk" into "Five Minutes to Flush". Basically the Feds are at Nature's door and he better make rid of that drugs he got stashed ASAP. I fuck with this cut, it got that slamming Dre funk, the Roger Troutman talkbox, and an excellent take by Nature. But should it have been on this album, that's the question?

"Desperados" on the other hand is vintage Firm shit, produce by Curt Gowdy, Poke and Tone who's guitar driven beat is instantly rewind worthy. The only fault here is that this joint was originally 6 minutes long as proven by the original leak on a DJ Clue tape. On this album version Nas and Foxy Brown's verses are nowhere to be found and as excellent as Canibus' verse is I'm not sure who actually took it between him, AZ and Nature. Now if we can only get perfect CDQ/NO DJ FLAC version of the original version.

Now we have reached the most commercil record on an album that already has too many of them. Even the producers Poke and Tone kind of dissed this record (in fact L.E.S. produced it while Dr. Dre mixed it and added some live instrumentation). The idea was to come out the gate with a commercil single but you had fucking Nas, AZ and Dr. Dre, what you needed was street singles and a a street album. What's funny is that the remix known as the "World Famous" remix and appeared on some versions of the 12" single was so much better on all levels.

Noreaga appears on "I'm Leaving" together with Nature, and brings a lot of that "War Report" style while Poke and Tone does an excellent job with the guitar heavy production and heavy drum programming. Nature's final verse is some heavy shit for sure. AZ and Haf-A-Mill did a lot of heavy records together and "Throw Your Guns" surely does not dissapoint as the album closer in any way shape or form. Drum programming and bass line is knocking and the guitar sample and the occassional cuts makes for an excellent album closer.

But god damn, is this album frustrting or what? It features probably 30 minutes of really dope music with excellent lyrics, strong beats by some of the best producers in the game, coool concepts, but the remaining 25 minutes is hardly what i would think anyone would wanted from a Firm album. And when you take into account that there's at least 20 minutes of unreleased material that never made the final cut it really tells you how dope this LP could have been. Download "Time" produced by Dr. Dre, and featuring Nas, AZ and Nature below as well as the World Famous remix of "Firm All Stars", featuring Mary J. Blige on the hook! 

Download @ ZippyShare
01. "Love is Love" (AZ / Nature)
02. "Affirmative Action Remix" (Nas/Cormega/Az/Foxy Brown)
03. "Firm Biz Remix" (The Firm)
04. "Time" (The Firm / Nas / AZ / Nature)

Apathy Ft. M.O.P. & Celph TItled - "Stomp Rappers"

I'm not the biggest fan of Apathy I've we're being one hundred, but the kid does have bars, a great ear for beats and gets some great guests on his record (just check the entire album he did with OC last year for example). On the first Friday of March (2/3) he is releasing "The Widow's Son" and based on the singles and credits this one will be worth to hear at least a couple of times. For the love of Hip Hop I'm posting all of the singles including the latest joint which features none other than Lil' Fame and Billy Danze over the appropriately titled self-produed "Stomp Rappers".

The real winners are the three earlier singles, produced by Nottz, Pete Rock (and featuring Pharoahe Monch) and DJ Premier's "The Order". Looking at the tracklist, it seems that as far as outside credits we have gotten all of the best shit aisde from the AG and DJ Mekalek-assisted "Never Fall Off".