Boom Bap

When running down a list of rap’s greatest MC’s of all time, one name that should show up near the top of the list that never does is that of Ricky Walters AKA Slick Rick. The London-born, Bronx-raised rapper made his initial mark on the scene in the summer of 1985 with his rhyme partner Doug E. Fresh on a pair of hit singles (“La Di Da Di” & “The Show”), that were among the hip-hop genre’s first mass-appeal hits ever. In the ensuing three years, there was a spat and break-up with Fresh, the release of a direct rip-off artist (Dana Dane) and a long break before the release of his first solo album, “The Great Adventures of Slick Rick”, an overlooked classic and, in my humble opinion, one of the best rap albums of all time.

Rick’s uniqueness is based on two things: his voice and his storytelling ability. At a time when emcees were totally fixated on how “hard” they were, Rick’s British accent and fey sounding voice made him sound like a younger version of “Geoffrey’, the butler on “The Fresh Prince of Bel Air”. Some may argue, but I think the accent gave him a bit more of an air of grace and classiness. Let’s not forget Rick’s freshly dipped wardrobe, with his tons of gold jewellery, his eye patch, fuzzy Kangol hats and Bally loafers. Rick almost solely brought in the era of the dapper hip-hopper when everyone was rocking jeans and sneakers.

Rick’s storytelling makes his songs come alive almost like a movie. His attention to detail and sense of humour is something that is sorely lacking in today’s hip-hop. Who else would create a song like “The Moment I Feared”, a darkly comedic song in which Rick is robbed of his jewels at a club, is greeted the next day by a friend’s girlfriend, sleeps with said girlfriend, is walked in on by his buddy, then shoots his buddy to death, kills the girlfriend and then winds up in jail getting corn holed. It’s a combination morality tale/comic relief track that is among the single most descriptive stories ever heard in hip-hop.

His sense of humour continues on tracks like the percussive “Mona Lisa” (on which Rick uses a very healthy chunk of Dionne Warwick’s “Walk On By” (of course, this was before sample-credit suits started coming out of nowhere), and on tracks like “Treat Her Like A Prostitute” and “Indian Girl”. Yes, the songs are somewhat misogynistic, but they’re obviously met in good fun, especially “Indian Girl” the story of Davy Crockett and Running Rabbit, which manages to be disrespectful to Native Americans and women at the same time (and has an ending involving talking genitalia and spear-chucking genital lice that is gross and hilarious simultaneously).

Ribald sense of humour aside, this album also has a few tracks with a moral centre. “Teenage Love” is, in my opinion, the best rap ballad ever, on which Rick describes the flourish and disintegration of a young relationship in cinematic detail. The album’s centrepiece, however, is the vivid “Children’s Story”, a somewhat disturbing piece about the inevitable descent of a kid who gets led into a life of crime. Most of today’s rappers would play the Billy The Kid element of this story into a positive, but Rick ends his rap with “The cops shot the kid, I can still hear him scream/This ain’t funny so don’t you dare laugh/Just another case about the wrong path…”. Of course, in the irony of all ironies, Rick wound up involved in a situation that almost totally mirrors the one described in “Children’s Story”, getting caught on an attempted murder rap. This derailed Slick Rick’s career, and although there would be a minor comeback when he was released in the mid-nineties, Rick’s career fell apart again when he was picked up after performing on a cruise ship that left the United States, apparently Rick hadn’t realized that as a convicted felon who was not born in the U.S., he was not allowed to leave the country, and was forced with deportation back to the U.K.

At any rate, this album is one of the benchmarks of the whole rap genre, despite some fundamental flaws. First of all, the mixing and production on this album ranges from average to terrible. The album is definitely in need of a remastering, and the production (from Rick, Jam Master Jay and the Bomb Squad) is spotty by today’s standards, although what can you expect from a 17 year old rap album? Despite some obvious filler tracks (‘Let’s Get Crazy”), this album was one of several released from 1987-1989 or so that set the table for what would become modern-day hip-hop. In addition, “Great Adventures…” was one of rap’s biggest success stories up until that point, becoming only the third rap album to hit #1 on Billboard’s Top R&B albums chart (following “Raising Hell” & “Bigger & Deffer”). It also had to be a definite influence on a young Snoop Dogg, since Snoop has spent nearly his entire career adopting Rick’s vocal mannerisms.

Despite the fact that the profanity may turn you off but if you’re a regular hip-hop listener then this album is a must-have. Armed with sharp wit and a gift for storytelling, Slick Rick and his debut remain one of the most underappreciated stories in all of rap history.

My god, I haven't laughed this hard in ages. Check it out for yourself and see what I'm on about.

You'll especially like it if you're a CounterStrike player! BOOOOOOOM! HEADSHOT!

http://www.putfile.com/media.php?n=FPS-doug

PWNAGE!

R2K

Great site I discovered while surfing. Check it out, I'll be sure to add it to my link archive too.

It's been 10 years ever since Nasir Jones dropped his classic debut Illmatic (In fact, Columbia Records released a 10th anniversary edition of this CD, it was that good!) With his introspective lyricism plus his innate ability to create beautiful street narratives, along with the superb production of such luminaries as DJ Premier and Large Professor, not to mention other greats, this CD is considered to be one of, if not, the best hip-hop/rap CD to ever be conceived. Nevertheless, there are many other reasons why this CD is one of the greatest in hip-hop history.

Number one, this CD has NO guest appearances other than Nas's protégé Az on one track which helped him land a record deal. Nowadays, almost every rap CD is filled to the brim with guest appearances and co-features. Number two, on this CD, Nas mixes introspective lyricism, profound street narratives, creative braggadocio into one little, short package which can not and probably will not be emulated by any current rapper (Not even he himself could make another classic like this). One last reason (among other unnamed reasons) why this CD has endured through time is that due to its shortness (it is barely 40 minutes long), this CD has no noticeable filler and every song on here is on for a reason.

Well, I don't know if this review can give this CD justice, but like I inferred earlier, this CD will never seem generic and old even with numerous listens. But, enough with the introduction, let's take a journey back to the mid-1990's and regale in the lyrical expressions of one of New York's greatest street-poets.....It's Illmatic

Track List

1) The Genesis
2) NY State of Mind
3) Life's A B*tch f/Az
4) The World Is Yours
5) Halftime
6) Memory Lane (Sittin' In Da Park)
7) One Love
8) One Time 4 Your Mind
9) Represent
10) It Ain't Hard To Tell


This Intro serves a great purpose to the CD. It starts with the sound of the subway, which could be from the Queensbridge projects, which could be a way to have the listener enter his neighbourhood aurally. When Az and Nas debate about the lack of realness in hip-hop, it's ironic that that problem still resonates today with the generic gangsterism that reigns in current commercial hip-hop. When Nas speaks the words "It's Illmatic", we know that Nas plans to bring the realness and nothing else when he starts rapping.

On the following track, NY State of Mind, this also serves its job well as introducing everyone to his community. Over a intriguing and powerful Primo beat which accents his lyrics nicely, Nas talks about how it is in New York with gifted well-written lyrics and multi-syllabic flow. This track can actually serve as two introductions: one, as I mentioned earlier, to get the listener more acquainted to what Nas is going to talk about; two, he is introducing his lyrical talents to us. I almost forgot to mention that he samples Rakim on the chorus, which suits fittingly, because I remember that Nas was called the new Rakim for a while.


The track Life's A B*tch does have its greatness with the soulful jazzy production full of handclaps, bass, and trumpets (Nas's father Olu Dara plays at the end of the song). Not to mention the amazing complex lyricism that Nas and Az exhibit when they're obviously going at their best. However, this track is mostly remembered, nowadays, as the song that got Az a record contract with just one verse. The only bad part about this track is the not-so-great chorus, which kind of advises people to smoke when life's goes bad. As we already know, Nas is excellent on this song, but of course, AZ flourishes with his brilliance and intelligence as well.

"Visualizing the realism of life and actuality, F*ck who's the baddest a person's status depends on salary, And my mentality is, money orientated, I'm destined to live the dream for all my peeps who never made it, cause yeah, we were beginners in the hood as five percenters, But something must of got in us cause all of us turned to sinners, Now some, resting in peace and some are sitting in San Quentin, Others such as myself are trying to carry on tradition, Keeping the schwepervesence street ghetto essence inside us, Cause it provides us with the proper insight to guide us".


The following track The World Is Yours is one of my favourite rap tracks for many reasons. Pete Rock laces this track with a memorable beat consisting of a piano loop, drums, and other sounds. Nas's prophetic views on his life show well throughout this track. He talks about different things that have happened in his life and how he is kind of cautious as it goes on. The image that came to mind when listening to this track (and possibly one of Nas's inspirations) were the scenes in the movie Scarface when Tony Montana saw the name of this track on a blimp and when at the end, those same words were on a globe in his house. I believe that Nas could have emoted an image in this song of never giving up and staying watchful, just like Tony Montana tried unsuccessfully to do.

"I sip the Dom P, watchin’ Gandhi till I'm charged, Then writing in my book of rhymes, all the words pass the margin, To hold the mic I'm throbbing, mechanical movement, Understandable smooth sh*t that murderers move wit, The thief's theme, play me at night, they won't act right, The fiend of hip-hop has got me stuck like a crack pipe, The mind activation, react like I'm facing time like, 'Pappy' Mason with pens I'm embracing, Wipe the sweat off my dome, spit the phlegm on the streets, Suede Timb's on my feets, makes my cypher, complete, Whether crusin in a Sikh's cab, or Montero Jeep, I can't call it, the beats make me fallin asleep, I keep fallin, but never fallin six feet deep, I'm out for presidents to represent me (Say what?), I'm out for presidents to represent me (Say what?), I'm out for dead presidents to represent me".

I'll admit that the old-school beat of Halftime did not appeal to the young blood that I am, but as I listened more and more, the brass instruments, pounding bass, and Christmas chimes in the background started to appeal to me. But, more of Nas's greatness showed on this track as he shows that he knows how to make a CLASSIC braggadocio track, filled with memorable punch lines, amazing lyricism and wordplay. This track also serves as a change-of-pace setter because after this track, the songs tend to be less energized in a way.

"Before a blunt, I take out my fronts, Then I start to front, matter of fact, I be on a manhunt. You couldn't catch me in the streets without a ton of reefer, That's like Malcolm X, catching the Jungle Fever, King poetic, too much flavour, I'm major, Atlanta ain't Brave-r, I'll pull a number like a pager, Cause I'm an ace when I face the bass, 40-side is the place that is giving me grace, Now wait, another dose and you might be dead, And I'm a Nike head, I wear chains that excite the feds, And ain't a damn thing gonna change, I’m a performer strange, so the mic warmer was born to gain, Nas, why did you do it?, You know you got the mad fat fluid when you rhyme, it's halftime"


The track Memory Lane (Sittin' At Da Park) evokes a beautiful feeling of being back in the day and sitting on the porch, conversing with your people and watching life pass you by. The production that Primo gives Nas offers him a lush, soothing soundscape to rap over. Nas's vibrant lyricism, brilliant word-use, and remarkable factors make you feel what he feels and see what he sees as he raps. This track is one of the many classics that can be found on this CD.

"One for the money... Two for p*ssy and foreign cars, Three for Alize n*ggaz deceased or behind bars, I rap divine Gods check the prognosis, is it real or showbiz?, My window faces shootouts, drug overdoses, Live amongst no roses, only the drama, for real, A nickel-plate is my fate, my medicine is the ganja, Here's my basis, my razor embraces, many faces, Your telephone blowin, black stitches or fat shoelaces, Peoples are petrol, dramatic automatic fo'-fo' I let blow and back down po-po when I'm vexed so, my pen taps the paper then my brain's blank, I see dark streets, hustling brothers who keep the same rank"


One Love may not appeal to all due to its seemingly eclectic Jamaican sound. But, the concept that Nas envisions on this track of lyrically composing a letter to an incarcerated friend is genius, and if I‘m correct he‘s the first rapper to do so. It’s also true that Eminem deviated Stan from this track. Through Nas's inventive and gifted (there's that word again) lyricism, we feel all that he feels when he's explaining to his friend what's been going on physically in his hood and mentally within himself and also how he misses his friend. The next track One Time 4 Your Mind just seems to me like a continuation of previous tracks on here in which he talks about his hood and what goes on it. The chorus on here doesn't appeal to me either. I think the reason I gave it such a high rating was that it was the inverse of being guilty by association. If another artist had made this track, it would be considered a near classic, but since we all know Nas's potential, it seems almost menial coming from him.

The last track on here It Ain't Hard to Tell makes the listener want to stay in the days of golden hip-hop when notoriety wasn't considered with negativity and when you could just have a friendly conversation with someone else's girl without worrying that her guy was going to get jealous. The listener is just in a daze when this part of the CD comes on, but within 5 minutes, it's all over and the listener returns to his time, but has he been touched by what he has heard? This last song is basically a jaw dropping freestyle, where Nas kicks the crap out of any emcee to uphold him, the track begins with Nas spitting this verse..

"It ain't hard to tell, I excel, then prevail, the mic is contacted, I attract clientele. My mic check is life or death, breathing a sniper's breath, I exhale the yellow smoke of Buddha through righteous steps".

And ends with…

"This rhythmatic explosion, is what your frame of mind has chosen. I'll leave your brain stimulated, niggaz is frozen. Speak with criminal slang, begin like a violin, end like Leviathan, it's deep well let me try again. Wisdom be leaking out my grapefruit troop
I dominate break loops, giving mics men-astral cycles. Street's disciple, I rock beats that's mega trifle and groovy but smoother than moves by Villanova. You're still a soldier, I'm like Sly Stallone in Cobra. Packing like a Rasta in the weed spot, Vocals'll squeeze glocks, MC's eavesdrop though they need not to sneak, my poetry's deep, I never fail Nas's raps should be locked in a cell. It ain't hard to tell".

Final Thoughts

On this LP, Nas offers everything that a rap fan can love: amazing lyricism, innovative storytelling, nice production, etc. He set a landmark that he could not ever touch again. (And, if he did release another Illmatic which is impossible, people this day and age wouldn't buy it and I don't believe that some record companies would push out a product that doesn't offer them the bottom line.) Anyway, Nas set a pinnacle that no rap CD can ever hope to achieve currently. This CD has been out 11 years, but the messages and stories within it can last a lifetime. Sadly, as a final note, not many realize how great a CD this is or that hip-hop has even reached such a peak, due to the current degrading stage of rap. (Yeah, I had to throw in my customary state of hip-hop message)

MY RATING - 5/5

The next album I’ll be reviewing is the legendary Illmatic which in my opinion is the greatest hip hop album ever. But before I come round to doing that, I found this recent Nas interview on the net…

How did 'The Unauthorised Biography Of Rakim' come about?

"Yo, you know what's crazy about that, man? When I did that, I didn't really think it was a good song. I was trying to take that off my album because I didn't really think nobody would get it. I thought Rakim was before a lot of people's time, and they wouldn't understand it, wouldn't even get it. So I’m happy that you even noticed that record right there."

"The song's the unauthorised version - meaning like most biographies, it's not 100 percent true. it's based off what someone said, it's not an autobiography. I met him when I was 16 also. I was recording demos in his studio time, at 16 they took me in. So I had to just pay that respect back."

"We pay tribute to people when they're dead, and that's not cool: I think we should show the love to artists while they're here. we gotta start supporting each other, not just when they gone. Rakim's such a legend that I had to do it like that"

The hip-hop audience tends to consign artists to the scrap head a lot earlier than happens with rock or jazz artists. People like Rakim, Public Enemy and KRS-One are either forever being compared with what they did in the '80s, or are ignored by a new generation of fan. Why do you think that is?

"I think that's because hip-hop back then had never seen old age, so it was a new thing and a young thing, and in many ways it still is. KRS-One said on "I'm still Number One". He said: '50 years down the line we can start this'/'Cos we'll be the old school artists'. I think Public Enemy can come around, it's just there was no audience for it to grow. We had grew with them - they had 'Fight The Power', and had done everything socially that they could do. They'd spoken out against injustice. And I think they needed a break - there needed to be an emergency moment where we had to see them again, whether onstage on tour again, or releasing a new record."

"It's all timing, and I think it's time for us to start seeing these people again. They did need a break just so they could get more supporters, people like us supporting them. They needed us to become men - we were teenagers, kids growing with them, and now we're old and we can understand what this is and support it as a community now. It can survive".

Ten years on from 'Illmatic', you're now one of those hip-hop artists with longevity and history behind you. You've had to make comebacks, but usually because that debut overshadowed things. When 'It Was Written' came out people accused you of abandoning the observational writing and going for gangster dollars. How did that reaction feel?

"Well, you never know when people are gonna give up on you, when you're gonna lose 'em. You never know until the record is released, you just have to go with your gut feelings. It's important to balance your name in the commercial world without compromising what you do. You can't listen to what people are saying 'cos they don't really - they're not in your mind when you're doing it, they're not sharing your mission. They're not there creating, they're not gonna keep your family fed, they're not there to motivate you. So you can't listen to what they say too much - you've gotta stay on your path."

"I recorded a few songs for my next album after 'Illmatic' and they were grimy, they were hard. Something happened - the songs leaked out with just one verse on 'em. Marley Marl had them on radio - I was doin' 'em at Marley's house. And it just changed my flow. So what happened was, I said, 'Nah, this has to be a masterpiece, and I'm saying more than I'm walking down the road smoking weed with my pants sagging and my Tims, in my left is my gun, got a bitch on the side'. I said, 'Nah, that's not who Nasir Jones is - that's not who Nas is. They think they know who Nas is, but I can't wait to show 'em who Nas is'. And I got together an album that represented who Nas is. 'If I ruled The World', 'Black Girl Lost'... the things who I really was."

"And thank God I did that. I realised the kids were saying 'Give us another 'Illmatic', but years later I said, 'Damn! If that was the next album, I would have been finished.' Not just because it wouldn't have sold, but more importantly because I wouldn't have had any drive to continue. I would have felt like, 'Damn, my body of work only says I’m about getting high and shooting dice and hanging on the block, and that's it'. And because that's the way I went to the studio to record it, just talking about everything without a care in the world for song structure, musical arrangement, clear and crisp sounds, taking your imagination to the next level, it was just one side. So I think God I didn't do that. It would have been cool if I had been able to do that album, then still been able to make 'It Was Written' next you know? But I just think that I would have lost the drive to do it."

At the end of the Rakim song you said you were going to do a similar one about KRS-One next. Have you started on that track yet?

"No, but I got some real good ideas about it. I really wanna do that one because his fame, his whole shit came from battling my neighbourhood! I mean, he made 'The Bridge Is Over', which is a hip-hop classic, about my projects! KRS-One is one of my heroes, icons, a great mentor and friend, so I wanna take my time with his."

What are you listening to at the moment?

"Ice Cube, the 'Death Certificate' album, and Scarface's 'Greatest Hits'."

Are you going back and choosing to hear old stuff for a particular reason?

"Yeah. I don't feel the real in music. I feel that everybody's copying. Not everybody - there are some good kids. I think Talib Kweli's good. But other than that, there's not a lot of good today. People are just following the dollar - that's what messes it up. If I could be making music in another era, I'd choose any of 'em: '50s, 60s, 70s, 80s... The '80s was so amazing. You had everything from DeBarge to the Police to Duran Duran to George Micheal to Boy George to Run-DMC to Malcolm McLaren to Evelyn Champagne to ... You had so many different kinds of music - punk, everything, man. It was so much better. I mean, today's music, compared to the '80s, dude? It's sad."

"I had fun in the '90s with hip-hop. I had fun with the Biggies and the 2Pacs and the Wu-Tangs and Cool J, Dre and all that. Today, since 2000, there's been probably three new guys - maybe four of five now. But in the '90s there was Wu-Tang and myself, Mobb Deep, you had Black Moon, you had Jay, you had Biggie, 2Pac, you had the whole Death Row camp, Rass Kass, and that was hip-hop. R&B you had people like Boyz II Men, Jodeci, Mary J Blige, you know? This was all new for the '90s, and that was good, that was pretty cool. The '90s was pretty tight. And now? I don't know what's happening."

Since the whole thing with Jay-Z, have you sat down with him and talked and shook hands?

"No"

How would it go down when it does happen?

"I don't know. I've no idea."

Were you interested to hear he's become the new head of Def Jam?

"No but that makes sense though"

Were you surprised he retired from rapping?

"Erm... No, not really."

Can you see a day that might happen to you?

"No."
___________________________________________________________

Real Talk!

''Underground heads should clear some space in their backpack, cause indie Hip-Hop label and underground stalwart, Rawkus Records, has just signed a exclusive distribution deal with RED Distribution.

The label was founded by Brian Brater and Jarret Myerin 1996. Rawkus helped launch the careers of Mos Def, Talib Kweli, Pharaoh Monch and countless others until they closed their doors in January of 2004.

The owners said the reactivated Rawkus imprint will aim at releasing more quality music.

“Jarret and I are very excited to bring Rawkus to the RED/Song/BMG fold,” says Brater. “We intend to make RED Distribution, once again, the dominant urban music player in the independent world. Expect an extremely active 2006 schedule.”

RED Distribution is an independent distribution company owned by Sony/BMG that distributes more than 20 independent labels and Sony/BMG product. According to Vice President and General Manager Bob Morelli, Rawkus should feel right at home.

“We are thrilled to work with Brian and Jarret as they re-create the Rawkus Records brand,” says Morelli. “Their vision and passion for everything they do will be right at home with us. RED is committed to its urban music roster and Rawkus will be a major part of this commitment in 2006 and beyond.”

A fall release schedule will be announced shortly.

In addition to the music, Rawkus has also formed its own management company called Rawkus Management, and will be launching a film division.

The first project to be released will be through Lake Shore Entertainment called “Excite Loves Vita,” starring Rosario Dawson.''

It's been a few days and no one has yet commented on my blog...

Anyway it's hot outside today and I'm indoors preparing for a job interview and playing some computer games.

Anyway I'll try and do a more reviews when I get the chance, but for now peace!

Got this awhile ago, having read it I am very dissappointed in KRS. But we'll have to wait to hear his side of the story before jumping to any conclusions that's a hypocrite or whatever..




''Greetings from Ireland. Last week we were meant to have the biggest and best Hip Hop Jam ever. KRS-1 the so called Teacher and one of the biggest in the Hip Hop family was scheduled to play in Dublin.

Last Tuesday the 5th Common was in Dublin and wrecked the shop the man blew the roof of the house. Everyone had a great time and we were all looking forward to the KRS gig. As this was the second time it was rescheduled.

On Thursday the 7th everyone was hyped and ready to party with the
Blastmaster or so we thought.I will admit here and now there was problems with the promoter, however this was sorted and the promoter below is an account of the night. KRS was scheduled to play in Dublin, but didn't.Apparently the problem was over money. KRS didn't leave the hotel to come down and say what up to his fans.

This show was rescheduled twice not once.

When he received his money, he came down to the venue after everyone had already been kicked out of the Temple Bar Music Centre at this stage. He didn't even bother to get out of the van to address his fans as we waited for him and just drove off. If this is what they call representing Hip-Hop they can go and jump. It would appear KRS is more interested in bling-bliing then he is Hip Hop. To me, he is now a sell out and a hypocrite. All the things that he preaches in my book he broke. The fans are the most important aspect of an artist. KRS is
never, ever going to be able to apologise for what he done to his fans last night. From what I can make out, he lost a lot of heads as well. No one will want to associate with him from this country. We all think he is a big headed wa*ker. For one who preaches as much as he does, he should put this into practice and stop the busllshit.

On the other hand Mek, Ri-Ra and Browner were there last night and stopped a riot from ensuing. A glass was thrown at Browner and missed him not by much though, a bottle was also smashed of the turntable and nearly hit Mek. All in all the boys stopped the riot. There was a vibe there I am not used to feeling and
never want to feel again. It was great to see Scary Éire reunited on stage. If you would like to print this and re-edit to suit yourself you have my say that you can do. People need to know that KRS is not as pure as he makes everyone believe.

Hopefully by reading this E-mail people will understand that he is a fake and all that he is interested is the money.

Hope all is well with you.Talk to you soon.

Blessings of God on you. Peace,
love, unity n Hip-Hop.

Tall Paul Lowe

Hip-Hop Slam Ireland.''

Let's flashback to the late 1980s. An era where gold chains and scratching seemingly dominated the streets, hip-hop was still quite young and infantile. Several hip-hop artists were just recently brought to the map to deliver a fresh new style of music for fans. It's unique blend of sampling jazz and soul music, stripped down over a beat and featuring somebody rapping over it was creative, and absolutely breathtaking for music fans. At the forefront of this movement was Boogie Down Productions, Public Enemy, RUN-DMC, Beastie Boys, Juice Crew, and of course: Eric B. & Rakim. For a long time Rakim has been known as the "God of hip-hop" music, and a forefather in the art. Being one of the founders of modern emceeing, Rakim's hit single "Paid in Full" was one of those incredible cuts that fans absolutely wore out in their tape players. This cut came from the incredibly successful debut album from the duo: Paid in Full, released in 1987. Since then, Paid in Full has been considered a hip-hop masterpiece....

Track Listing

1) I Ain’t No Joke
2) Eric B Is On The Cut
3) My Melody
4) I Know You Got Soul
5) Move The Crowd
6) Paid In Full
7) As The Rhyme Goes On
8) Chinese Arithmetic
9) Eric B Is President
10) Extended Beat

There are only 6 real tracks on the album the other 4 being DJ cuts. So I’ll only be reviewing the actual tracks.

From the album's opener "I ain't no Joke", you can already hear the smoothness in the beat craftsmanship and the inventive lyrics that countless emcees would go on to imitate. The powerful voice of Rakim is virtually unmatched by no other as his microphone presence is ungodly, which perhaps explains why he would later be known as the "God of Hip-Hop". Eric B. might as well be the God of scratching and sampling, as he is one of the DJs who pioneered this art, moulded it, and evolved it into it's more modern-esque style. His trumpet loop and scratch effects fit nicely with a pulsating bass. People who have no idea about the skills of Rakim need to listen to this right now and expand their minds.

"My Melody" is one of those classic joints that is simply unforgettable after listening to this. Simply put, Rakim blows your head off with lyricism that is light-years ahead of it's time. Some of these new cats nowadays in hip-hop couldn't even come close to touching the "R" in their A-Game even back in the late 80s. Rakim's was one of the first emcees to truly use similes to drive his lyrics to perfection, as well as using complex ones that were pretty much a rarity in this era. The intricate flow and rhymes are accompanied beautifully by Eric B's windpipe driven beat, with skilled scratching and a pulsating powerful baseline.

"I take 7 emcee's put em in a line, and add 7 more brothas who think they can rhyme, Well, it'll take 7 more before I go for mine, And that's 21 emcee's ate up at the same time"

On "I Know You Got Soul", Rakim creates one of the most time-tested lines in music: "It's been a long time... I shouldn't have left you". This song has been sampled countless times and it's refreshing to hear the original. This joint will easily have you "pumping up the volume" not only due to the lyrical display from the God, but Eric B's classic use of hard claps mixed with a drum loop, a smooth hi-hat and some symbols. The beat is pretty stripped down, which allows the lyrics to be the focal point here:

"It's been a long time, I shouldn't have left you, Without a strong rhyme to step to, Think of how many weak shows you slept through, Time's up, I'm sorry I kept you, Thinkin' of this, you keep repeating you miss, The rhymes from the microphone soloist, and you sit by the radio, hand on the dial, soon, as you hear it, pump up the volume..."

The classic that everybody remembers from this album has to be "Paid in Full", the lead-single and obvious title-track. This traditional rags-to-riches story is said to have inspired many future classic joints, and the song has been sampled more times than I've said "classic" in this review. The beat features the old school formula of the drum-loop and hi-hat mixed together, which is of course, the main focal point of the song that was sampled. The trumpets and pianos provide a much more musical twist to an already ill drum loop, and is nicely complimented by a simple baseline which makes the song THAT much better. But of course, it's Rakim's lyrics that show what legends are made of:

''Thinkin' of a master plan Cuz ain't nothing but sweat inside my hand.
So I dig into my pocket, all my money is spent, so I dig deeper but still coming up with lint. So I start my mission- leave my residence, thinkin' how could I get some dead presidents I need money, I used to be a stick-up kid, so I think of all the devious things I did. I used to roll up, this is a hold up, ain’t nothing funny stop smiling, be still, don't nothing move but the money. But now I learned to earn cos I'm righteous I feel great! so maybe I might just Search for a 9 to 5, if I strive Then maybe I'll stay alive. So I walk up the street whistlin' this feeling out of place cos, man, do I miss a pen and a paper, a stereo, a tape of Me and Eric B, and a nice big plate of fish, which is my favourite dish. But without the money it's still a wish. Cos I don't like to dream about getting paid So I dig into the books of the rhymes that I made, to now test to see if I got pull. Hit the studio, cos I'm paid in full''

Like many, many emcees did during this era, Rakim pays tribute to his DJ on the final "rap" joint on the album, aptly titled "Eric B. is President". Rakim proves once again that he is the god-father of modern emceeing, paying an honest tribute to the man who mixes his songs and compliments them. Rumour has it that Rakim produced almost all of the songs here and that Eric B. simply just scratched them together, which might be true but I can't confirm it. Regardless, Rakim feels it's the right thing to do to spit about his DJ, and he does so in classy fashion:

"I don't bug out or chill or be acting ill, No tricks in '86, it's time to build, Eric B easy on the cut, no mistakes allowed, Cuz to me, MC means move the crowd, I made it easy to dance to this, But can you detect what's coming next from the flex of the wrist, saying indeed that I precede cuz my man made a mix, if he bleed he won't need no band-aid to fix"

Paid in Full is THE album that basically set the tone for the modern-emceeing technique of multi-syllable flows, complex metaphors and similes, wordplay, braggadocio, and many of the other arts that backpackers and heads love to death. This album, along with a few others, is truly one that put hip-hop music on the map. The definitive lyrical album and certainly light-years ahead of it's time in lyrically . From beginning to end, Paid in Full is a classic , and should be owned by every single hip-hop purist in existence.

MY RATING - 5/5

Music thing - For all you technology freaks :)

Time to review the artist who is the face of real hip-hop, no other two emcees have influenced hip-hop quite like KRS-ONE and Rakim. But today I’ll be reviewing the former and which in my opinion is his best album, the exact album which inspired this blog… Return of the Boom Bap, which means just that the return of the real hard beats and real rap, something which is sorely lacking in the rap industry today.

KRS in spite of all this is still striving to keep the genres credibility alive along with other underground hip-hop acts. He’s arguably the best rapper to ever grasp a microphone and is renowned for his political and social lyrics and the ability to rock live shows without special effects, props or whatever. You could say he’s got all the attributes of all the rap legends but rolled into one.

His moniker is actually an acronym meaning ‘Knowledge Reigns Supreme Over Nearly Everyone'. He's also the founding member of the legendary late 80’s/early 90’s hip hop group Boogie Down Productions(BDP).
KRS, still after all these years is considered one of the best lyricists in the industry. And that’s why I take great pleasure in reviewing his solo album which he recorded in 1994 after leaving BDP.

Track Listing

1) Krs-One Attacks
2) Outta Here
3) Black cop
4) Mortal Thought
5) I Can't Wake Up
6) Slap Them Up
7) Sound Of Da Police
8) Mad Crew
9) Uh Oh
10) Brown Skin Woman
11) Return Of The Boom Bap
12) "P" Is Still Free
13) Stop Frontin'
14) Higher Level

The album starts off with a "KRS-One Attacks" which is a short DJ Premier scratched mix cut which pulls out no stops as that laced over a beautifully heavy drum loop with a collection of KRS samples, this is a truly great way to start the album.

'How many real hip hoppers in the place right now!?’

Onto my favourite track on the album, "Outta Here", in which KRS raps over a thumping hard drum beat laced with light background piano key. Here he tells of his career story on how he got where he is while taking shots at his critics and name dropping great albums that came out of hip hops golden era at the same time. With lyrics like this, you’ll know what I mean..

"While I'm battling these rival crews...Yes! BDP was there in the street news.
Some said all they want to do is battle, they can't write a song, so their careers won't last long. Around this time I used to hang with Ced Gee. And DJ Scott La Rock used to buy gold with Eric B, I didn't meet Rakim till later with Scott,
I remember we were jammin' at the rooftop.
It used to irk me when these critics had opinions. Scott would say "Just keep rappin', I'll keep spinnin' '', We had a fucked up contract, but we signed it.
And dropped the hip-hop album Criminal Minded, we told the critics your opinions are bull, same time Eric B and Rakim dropped Paid in Full.
Hip-hop pioneers we didn't ask to be, but right then hip-hop changed drastically"

"Black Cop" produced by DJ Premier a hard base thuds through the front, accompanied by a rather catchy background chorus of 'Wayyyy Ohhh'. What would this beat be without a Premier scratching? I cannot fully prepare people for the quality of production not only on this song but the whole album. On this track KRS decides to go social with his lyrics.

"The black cop is the only real obstacle, black slave turned black cop is not logical. But very psychological, haven't you heard? It's the BLACK COP killing’ black kids in Johannesburg"

"I Can't Wake Up" , Over a unique base, going up and down the same scale, turpentining, deliberately causing suspense for this listener, KRS literally counts down 10 seconds before he raps. His steady voice counts down the ten seconds beautifully calmly, with the scaled base pulsating in the background. Over light horns and police sirens a jazzy snare and hi-hat race through, almost pacing the fast action of a police chase. On this track KRS runs down the weed smoking hip hoppers in the industry, and manages still to leave you full of wisdom.

"And said who rolled this and passed me to Kid Capri. Kid Capri said "I wont front pass it to Redman, he knows how to roll a blunt". Redman said no need to re-roll and passed me to De La Soul. De La Soul took a hit and kept hitting, now they're bugging cause they passed me to Bill Clinton"

The brilliant "Sound Of Da Police", pulls no stops from production to lyrics. With KRS lapping voice rolling over the beginning of the track exclaiming 'Whoop Whoop', that’s the sound of da police. Whoop Whoop, that’s the sound of the beast', you know you’re in for controversy! Premier's signature samples come into play with a voice of a man calling not very loudly 'Yes indeed'. Kid Capri calls the background stock as he passes over the a thunderous base, jazzy, relaxing, melodic keys. Well with a title like this, you know this is going to be nothing short of political vengeance.

So here it is my second favourite cut and one of KRS’s best ever tracks, lyrically and production wise, "Mad Crew". KRS starts of this track by claiming calling over loudly ‘This is a shout out to all the real DJ's...'. His speech proceeds for about 15 seconds and a thunderous, beautiful colliding crashes over the top. Premier's production show him at his finest, as his raw beat spills real hip hop everywhere. KRS comes with his now famous battle lyrics that no one would dare contend with.

"I break an MC off proper, yo don't check me, ask your Moms and Pops, yo they respect me. But here you stand, trying' to get yours, but getting' NOTHIN', you probably can't spell "Boogie Down" or "Productions"

"Brown Skin Woman" is probably as touching as KRS can get! That’s not to be rude, but I can’t really see the blast master lusting over the microphone claiming love for women. But still not straying far from his political roots, he manages to conduct a song about black women.
Over a thudding base and jazzy trumpets flowing over the top, he flips rhymes of passion and political stanza.

"P’ Is Still Frontin". Over a deep, melodic scaling base, electric keys come into play. There’s a recent song that has sampled this. But, anyway the timing is impeccable, and the whole style just screams the Bronx. KRS doesn’t spit battle ruff lyrics, actually a story about a girl who goes out selling herself because she needs money to feed her son and her addiction.

"But look what she did, she went and had a kid -- no dad and just released her ass out the rehab. You think she'd act like she don't know, she's still a hoe, but umm check my man for the show"

The album ends on a high note with "Higher Level" which is the most relaxing track on the album because it takes a long build up before KRS actually starts rapping. It’s 1993, and KRS takes it back old school, over blaring trumpets, and a coaxed beat Premiers styles the base perfectly as it flies over the trumpets. KRS brings great lyrics that capture the listeners attention. Classic.

That concludes my review of one of my favourite albums. So, do yourself a favour and cop this classic album….. you know you want too :P

MY RATING - 5/5

Well, this is my first official post and I’m sure you’ll enjoy it, especially if you’re not a Manchester United fan.

I was just browsing the web and I came across this beauty. Apparently it was created by a young American football fan but I’m not buying it, I’m certain it’s just an act but anyway this guy has to be congratulated for coming up with this great site which is sheer comic genius.

I don’t know what’s funnier, the actual posts or the comments left by miserable Manchester United fans who fail to see the funny side, but who cares? It made me laugh! :D

'I'm lovin' it'

So, this is my first blog and I would like to take this opportunity to introduce myself. Well my names Mohammed Hussein, I'm 18 and I'm currently living with my mother in Barnet, North London. I'm ethnically Somalian but British by nationality. I love football, music and surfing the web.

But enough of that and on to the point of this blog…

I initially created this blog to post my opinions on my favourite types of music but I'm also going to add a lot more like including, album reviewals, discussing my football club Arsenal and whatever I'm personally up to.

I hope you enjoy it because this blog will essentially be my diary of some sort.

Peace.