2015 may well go down as ‘resurgent vintage’ for some of the Nineties’ dopest beatsmiths, and I’m happy to report that this year striped veteran producers like Pete Rock and DJ Premier are concocting some of their most sophisticated work yet. While Premo is off exploring his seemingly new-found appetite for more contemporary sounds after last year’s stellar Prhyme, let’s focus on PR’s new sequel to 2001’s Petestrumentals.

Aptly named Petestrumental’s 2, this album is simply a second dose of what Pete Rock loves to do - produce funky bangers with no agenda for lyrics. Same as the last time around, his joy of creating music is evident throughout, only this time there is a more mature sophistication underlying the offering. To this day, Pete is (proudly) more of a beatmaker than a musical producer, but hot damn if he didn’t write the book on how it’s done. Many A-list producers cite him as a heavy influence, and happily even the true school young’uns these days reference his work. Many of those lessons have come about while devouring his instrumental work, and thankfully there is much of that material available.

Foremost of this work are the Petestrumental albums. Whilst instrumental versions of his solo works like the Soul Survivor LPs is essential listening for those wanting to dissect how Pete constructs tracks for lyrics, the Petestrumentals are somehow from a more pure place. Who remembers snapping your neck to any number of tracks from The Main Ingredient for the first time, only to hear it blend into a five second nugget of flawless funk that left you begging for more? That’s the space where the Petestrumentals coalesce. They aren’t built for an MC to craft a story around - they are slices of hip hop music meant more to convey a feeling. Maybe it reminds you of a night-time highway cruise with all four windows down, or a backyard barbecue with the young ones running about; it could even be late night drinks with your lads at the bar. It doesn’t really matter the context, what’s important is that this is music to complement or even define the experience in a positive, upbeat way.

Digesting Petestrumental 2, it is continually evident that Pete wants you to feel that same surge of exhilaration that he experiences daily as one of hip hop’s most beloved champions. That excitement he must feel when he drops in a perfect flipped sample over that drum loop he just banged out in the lab. Or when he’s manning the wheels in the club, scratching in that PR beat that makes the crowd lose their shit. This album is an expression of those moments.

So here’s my breakdown.

The opening track starts out with a brief upbeat intro that immediately slows into a quasi-spiritual vocal underpinned by gentle organ swirls. And that’s when that old smoothness drops in, all keyboard over Pete’s signature crunching snare and spine-tingling orchestration. There it is - that late night feel that tracks like Pete’s Jazz brought the first time around. Sure, it’s loopy, but who cares when it’s this dope. And as Heaven & Earth fades out, we get that little snippet of funk, just like old times.

From there Pete changes up again and gets right to business, finding a fresh take on JB’s Funky President. The horns blast (as they have on so many PR gems), the wah pedal is in overdrive and the drums are straight out of 1974. Then we loop back around again to that night vibe on Cosmic Slop, the wavy synth inviting those eyelids to droop following that final finger of Talisker.

Another nugget and we’re into On & On, where a seamless horn straight from the Seventies loops on and on over a stomping bassline that will get the dome nodding, stat. From there familiar samples are reflipped on Beat Goes On, introducing a vintage piano riff that plays just right over a rolling low end. 

If necks weren’t snapping before, they will when Clap Your Hands (I Feel Good) kicks in. Dilla-esque in it’s sparse drumwork, a vocal sample over rolling bass stabs makes this jam simply infectious. The singsongy vocal samples continue on My My Baby, with sparse piano chords and another stabby bassline. Eventually this gives way I Wish, a late night vibe complete with blaxploitation vocal accompaniment. Last call, y’all.

The album’s first release One, Two, A Few More showcases a PR style from the NY’s Finest era featuring a subdued filtered guitar riff, funky percussion and even a little Isaac Hayes thrown in. The next release Air Smoove comes after that - once again a little Dilla-like in it’s construction. (It’s funny how Pete obviously influenced J, and here it’s turned around.) We finish off with a delicious slice of funk for the last thirty seconds. Thank you Pete.

Gonna Love You centres around a trademark PR atmospheric bell pad and a lush vocal sample. It rolls off the tongue like ice, until an abrupt style change up into 90s Class Act (Ek). And that pretty much sums up the track. Stompy drums and bouncy bassline, just like the good old days. The drum break morphs into yet another chunk of jazzy funk at the end of the track, giving way to Justice, a short skit that probably could have been skipped. It’s heavy messaging just doesn’t fit the rest of the album’s vibe.

Accelerate breaks the mood with an upbeat tempo, a fat horn hit giving a bouncy feel. Another snippet and we’re into Make Me Feel Like, with more looping horns and a playful airy percussion vibe. One more funky outro and Pete’s tribute to Detroit’s finest blasts in with fanfare horns and a thumpy, rolling low end.

A huge horn break plays over sinister congas on Play Yo Horn, slowing the pace a little. A nice tinkly piano sample reminiscent of early-Nineties Premo finishes off the track.

Bbjones introduces more funky percussion with a random guitar sample, at first sounding a little too chopped until you realise it’s on purpose, acting as a counterpoint to other designless sounds dropping in out of nowhere. This finishes off with a big slab of Bob James’ Storm King. Subtle, it ain’t.

Pete’s obligatory reggae tune is next, this time featuring blips, zings and a club bullhorn over marching drums. Not my favourite, but it really wouldn’t be a PR instrumental release without some Jamaican flavour. The album wraps up with the catchy You Know Dat. Those Pete horns again make an appearance paired nicely with staccato drums and a repeating piano riff. The albums ends abruptly with a simple beat cut.

One has to remember that this isn’t music to make dough. It’s not for critic acclaim. It’s not even for the fans. It’s not perfect, it’s not groundbreaking. But this is music by Pete, for Pete. It comes from a joyful place in his soul that we’re pretty privileged to peek into every now and then.  

It reminds me when of me and B had the pleasure of pressing the flesh with the Soul Brother Number 1 a while back, and the one thing that I could thing I could think to say was a simple thanks. He knew exactly what that thank you was for - that joy in hip hop he brings with each and every release. And this album is no exception.

4 outta 5. Truly a Part 2 to the original, and a step up in terms of technique and skill. Don't expect a cohesive, seamless rap album, but rather a collection of hip hop music that will take your soul where it needs to go.

S.
09.07.15

Busta Rhymes- Year Of The Dragon

From his explosive beginning with Leaders Of The New School, Busta Rhymes is one of a few performers who has stayed true to his sound. The commanding nature of his voice, amplified by the speed & emotion of his delivery has kept Busta in the Rap game when many of his peers have fallen away. 21 years in the industry, and that's no easy feat in such a competitive field, was celebrated by the release of his 9th studio album on Google's free to listen Google Play- Year Of The Dragon.

Consisting of vocal guests Gucci Mane (Make It Look Easy), Lil' Wayne (Pressure) & Rick Ross (Til We Die), and producers Mr. Porter, Bink!, Boi-1da & Ty Fyffe, Year Of The Dragon is Busta's best full effort in recent years. The 14 tracks offered allow his style, which has little evolved from his early beginnings, to be presented in it's fullest. I know new comers to Busta's sound will enjoy this, but his is definitely a surprise for the long-time fans, as they will still appreciate his undeniable talent and flare for the dramatic.

With a blasting sample of 'Shout' by Tears For Fears for the intro/first track, YOTD knocks the speakers into submission as Busta loudly announces his arrival. This frenetic pace continues through the first half of the album, only slowing slightly for a small breather on 'Love-Hate' (w/ Robin Thicke) & 'Grind Real Slow'. The beats may have slowed, but Busta still manages to deliver rapid-fire lyrics that almost go unnoticed, due to his ability to lower the vocal output whilst keeping the delivery intense.

'King Tut', the first official single, serves as a self-look on his presence in the Rap game: a king, King Tut to be specific. And verses from loyal Conglomerate members Reek da Villian & J Doe add support to Busta's position of Rap royalty.

The final track 'Bleed The Same Blood', with Maino & Anthony Hamilton featured, is a furious finish to the album. Produced by KFIGZ, the simplistic guitar chords over a thump-clap beat allow Busta's vocal theatrics close out YOTD with an epic punch.

This album surprisingly has it all; radio-friendy jams, speaker-breaking beats from a variety of producers & a mic-hungry Busta out-shining a stellar support roster. And being well known for his studio-melting verses & delivering a classic club banger each time an album is offered- why do we (as the Hip Hop community) still not mention Busta in the 'Legendary Class' of Old School lyrical vets such as Nas or Jay-Z?
Simply put- he has yet to drop a Classic album.

Is it that his unorthodox delivery & lack of direction that has overshadowed his talent? Is it that this album being freely available is considered a mixtape? Is it the great (& often unreasonable) expectations of fans left unmet? Personally i think it's all of the above. Busta has left off, or not emphasised, a stand-out track. We all remember tracks 'Break Your Neck' and 'Put Your Hands..'- but they were offered with sub par albums. 2006's The Big Bang saw Busta's best shot at a classic album;  controlled by Dre, the album's cohesiveness was what stood it apart from previous releases. But because 'I Love My Bitch' wasn't the needle breaker we wanted it to be, we dismissed the album. It went platinum, but we didn't call it classic.

And this has happened again, as YOTD is a solid, quality album full of diversity- unfortunately, this diversity esp. with the production, brings the album down. Being a free album, the focus & effort Busta displays should be worth our support without hesitation. But we all know that Busta can turn up the heat in the studio, and if a track with similar ferocity to 2008's non-album 'Don't Touch Me (Throw Da Water On 'Em)' was present on YOTD, AND there was better direction with the album style; we just may see Busta provide a signature release to shine in his increasing catalogue.

Let's hope Busta has the formula ready for Extinction Level Event 2, so we as the Hip Hop community can reward him with the term 'Classic', as he so deserves. Until then, Year Of The Dragon will stand out as a better album than previous, and I like that.

4 outta 5 - Year Of The Dragon indeed & get ready for E.L.E. 2

Bunk 24.09.12
Released August 21st, 2012
Young Money Cash Money Billionaires Records

Footnote: A very senior & almost complete effort from the Dungeon Dragon we love.

And I second Bunk’s notion. Time to widen up this jawn and move into new areas of digital opinion. So as a companion piece to B’s Hot 5, here’s mine for September. Notice any telling similarities...?

1. You Don’t Know Me - MC Eiht w/ Warzone (Goldie Loc and Kam)

2. Who Ya Bullshittin - Prodigy w/ Havoc

3. Sound Boy - Busta Rhymes w/ Cam’ron

4. Asylum - Slaughterhouse w/Eminem

5. Focused Up - Large Professor w/ Cormega & Tragedy Khadafi

Bring on summer,
S.

Back After Hiatus...

Welcome world to the 1st day of Spring/Fall (depending where in the world you are reading this), & what a great time for us to announce the return of the Morning Show reviews.

And also, a perfect time to share that Stef & I have tinkered with our set-up. Not only will we commit to more reviews than previously (by increasing the categories), but we are opening up our reviews to include all styles of media. As you know, rap music is filled with social & cultural influences; be it movies, comics, political commentary & so on..

So with the past 6 months worth of music, films & beverages consumed, including a trip to New York's 5 Boroughs to honor the birthplace of Rap, it's time to get into it...

And here is a quick appetizer to get your speakers going, my Hot 5 for Sept-

1. Louis XIII- Xzibit w/ King Tee & Tha Alkaholiks.
http://www.hiphopdx.com/index/singles/id.21736/title.xzibit-f-the-alkaholiks-king-t-louis-xiii-prod-dr-dre

2. Built For This- Method Man w/ Streetlife & Freddy Gibbs (from The Man With The Iron Fist Soundtrack)

3. Movie- Busta Rhymes w/ J Doe (from Year Of The Dragon)

4. Loco-Motive- Nas w/ Large Professor (from Life Is Good)

5. Mind Your Business- La Coka Nostra (from Master Of The Dark Arts)

Enjoy,
Bunk.

Jay-Z and Kanye West - Watch The Throne

I wanted to wait until all the hype died down before I listened to the team-up album from long time friends Jay-Z and Kanye West, as I didn't want to be influenced by the press bombardment that accompanied it- well I didn't have to wait too long... and I can see why.

With enough 'guest appearance's' to hint at an album from the two, fans were rewarded with Watch The Throne, released in August 2011. But less than three months after its release, save continuous video-play of 'Otis', the most talked about collaboration has all but disappeared from the public eye. What is odd is that the two of them had more media time than any artist I can remember, in all forms of media, over the last 6-12 months. Why is the album not in heavy rotation?

Let's find out why, and the where it went wrong.

Initial reports were that a short five to six track EP from Kanye & Jay-Z was in the works, but was later changed by Kanye to be a full album. And with the first single called 'H.A.M. (Hard As a Muthafucka), it appeared to be a good move - unless you LISTENED to the single. I mean there is a difference to 'going' hard and just 'saying' you went hard. A few 'going' hard tracks that pop in my mind are 'Mama Said Knock U Out' by LL, 'Outta Control' by 50 Cent & 'House Of Flying Daggers' by the Wu crew- these tracks amp up a club, make you drive faster or work the shit at the gym.

But 'H.A.M.'? Comes off as a mistimed, mis-rhymed effort from two guys who should have destroyed our speakers!

'Otis' was offered as a second single, & the soulful, sample-driven track using 'Try a Little Tenderness' by Otis Redding was a definite improvement. With a stripped-down sample on repeat, Jay & Kanye trade rhymes like two buddies just enjoying themselves. And with a video that looks like they channeled the Beastie Boys (So Watcha Want), the lads spend 3 minutes entertaining us, & themselves... and that's where the fault lies. Had they focused on OUR reception, the album would have fared better. Tracks like 'Niggas In Paris', 'Welcome To The Jungle' & 'Gotta Have It' all come under three minutes & showcase their individual talents. Great to bump loud in a car or home stereo. But the rest is a confusing self-indulgent, inconsistent mix that if it was any other artist we would roast them for their wayward, embarrassing release.

But they turned their attention to 'telling us' how to receive the album. Continuously telling us how great they are, but rarely showing us any proof to their leadership as artists.

Even with a surprising array of guest producers supplying beats (Pharrell, Q-Tip & RZA), Kanye still managers to (executive) produce them into problematic and unbalanced album. Only the No I.D. and Pete Rock tracks remain untouched and sound so.

There is no missing the energy that went into this album, and that in itself is infectious. But from the first (& oft repeated operatic) beat, and punctuated by Yeezy's first word, this was a complete waste of time. They both sound tired, the beats sound annoying & regurgitated and...well, embarrassing. An appearance from Beyonce (who sounds killer BUT out of place on the album) and the addition of the (re-released) track 'That's My Bitch' (with Elly Jackson c/- La Roux) only add to the confusion.

Watch The Throne is the greatest album made by two artists... for two artists. It's like the guys were looking into the mirror the whole time, spurred on by their unequaled self-praise. Kanye has prided himself on innovative beat creation, but these beats sound like they were left-overs from 'My Dark Twisted Fantasy', and have no place on a self-promoted 'Classic B-Boy album'. And Jay-Z hasn't burnt a mic in such a long time, well not since 2003's 'The Black Album' - which ironically was promoted as his last. But having surrounded himself with 'YES' men for so long shows in this lackluster effort, as his celebrated rhymes style sounds outdated, but not in the revered sense.

It was no secret that a lot of criticism was directed at this album before it's release, sighting the possible clash of egos and ideas. And there was quite a lot of (well deserved) pressure placed on these two to deliver a 'classic' album. Or at least convince us they have earned the titles thrown at them the last few years. What's not surprising is that it fails to perform, astronomically. Actually this album misses the mark with an unprecedented flat-line, yet somehow we all knew it would.

Buy it if you want, but not at full price as you will be wanting your money back.

1 1/2 outta 5 - It should have stayed as an EP.

Bunk 08.11.11
Released August 8th, 2011
Roc-A-Fella Records, Roc Nation, and Def Jam Recordings.

Footnote: For Kanye to comment 'doesn't anybody make new shit anymore?' (back in 'Stronger'), he continues to sample very recent tracks.

Pete Rock and Smif-N-Wessun - Monumental

Maybe it’s just me, maybe it’s my age, maybe it really is because 97% of young artists out these days are rubbish but pretty much all of my high rotation albums are from experienced artists in their 30s and beyond. Guys who earned their dues in the 90s and survived the globalisation of hip hop and their own peaks and troughs to remain not just on the landscape, but relevant. MCs, producers and DJs who pursued the craft with integrity and through the years ended up masters of their fields. Sure, I give the young guys a good listen, a chance to impress. Nine times out of ten they fail. But there are some artists who have been around long enough to learn their lessons and use them to create superior product and they are the guys I choose to listen to daily.

Pete Rock is one of those artists. The Boot Camp Clik is another example. And here with Monumental PR and 90s NYC stalwarts Smif-N-Wessun deliver a solid slab of hip hop music. Whilst not a collaboration high on most wish lists, it seems to work but maybe not in the intended fashion. From first listen and on subsequent plays, this album’s star is Pete Rock. To be honest, it sounds like a PR album with Tek and Steele as the guests that show up the most. In fact the Brooklyn duo seem outshone not just by Pete’s advanced, cinematic production but by almost every guest artist, most notably longtime labelmates Buckshot and Sean Price.

That’s not to say Smif-N-Wessun can’t carry a beat. They perform admirably enough, but possibly aren’t suited to what amounts as some of Pete’s best production work in since the original Soul Survivor. So let’s talk about that board work for a minute. We all know the PR of the 90s and early naughties; the golden years with CL, the untouchable remixes, the mastery of horn samples, the Soul Survivor albums. Much like Premo (please God, give us that PR/Premier album already), with Pete you knew what you were going to get. He had a sound and he owned it. Fair enough to say he lost his prolificacy in later years and even went a little quiet. The odd gem would appear but nothing more.

So then heads heard about the supposed slew of 2011 releases for the Mt Vernon native and went apeshit. I know I did. And here’s the first of those efforts and the beatwork is something to behold. Clearly Pete has honed his already considerable talent into something dominant. The trademark horns are still there, but in subtle amounts. The samples are still flipped, but in a more skillful way. Even the vinyl scratch work and beat snippets at the end of tracks return. But now there are big panoramic strings, rhythmic guitars and creepy synths beefing up a sound that is less sample based and more reliant on musical arrangement. Hell, this is exactly what Pete Rock should (and does) sound like in 2011.

Monumental however, is not a Pete Rock album - it’s a collaboration with Smif-N-Wessun. And this is where it falls down somewhat. On the jazzier, less grimy tracks Tek and Steele just sound lost. They are going through the motions for the most part and whilst delivering solid enough lyrics that rarely depart from the subject matter of the mid-90s, it seems as if they are searching for bottom-heavy Beatminerz tracks to sink into. And that’s the main reason PR’s production just sparkles in comparison.

That said, there are so many guest appearances on this album you could be forgiven thinking it actually is a Pete Rock album. Smif-N-Wessun aside, this release is bursting at the seams with proven artists (and yes, most are in their 30s). Standouts include Raekwon (Prevail), Sean P and Styles P (That’s Hard), Buckshot (Nighttime where even Pete turns a nice phrase), and Rock and Bun B on Feel Me. I couldn’t name a singular stellar track, and Monumental doesn’t really falter significantly anywhere. Maybe some elements are a little stuck in the 90s but you shouldn’t be mad at that.

So is it Monumental? Not quite. Is it solid? Sure. Will I be rushing out for a Smif-N-Wessun album any time soon? Probably not. Does it make me jones for anything else that Pete can serve up this year? Most definitely.


4 outta 5. Mature, stellar production from PR that doesn’t really need the Boot Camp boys for support.

S-killz (Esseven)
03.07.11

Beatie Boys - Hot Sauce Committee Part Two

With a background story leading up to the release of Hot Sauce Committee Part Two almost as eclectic & as muddled as the sound of the album itself (Adam Yauch having a bout with cancer, the working title linked to a gift from Elvis to a bus driver & the mislead ideas on the distribution), the Beastie Boys are setting us up for one hell of a ride.

But that convoluted mess is nothing new to longtime Beastie Boy fans- and that's what you need to be to enjoy this album. For the Ipod crowd or commercial-radio listeners who will list Intergalactic, No Sleep Till, Fight For Your Right To Party (and maybe Shake Your Rump & Sabotage) as the only tracks the Beastie's ever released, they are going to be seriously disappointed by this album. And I like that.
Using some of the most random & obscure records to sample (believe me, I did some research on them), plus their proficient skills on live instruments, the trio have put together a collection of tracks rich in sound & depth that they could have easily survived without the vocals. And it's this talent that has continued to impress fans & critics alike. You could call this a crazy score to a week inside the lives of the Beasties- as multi-layered as the Boys themselves.

But the other talent for which the Beasties are recognised for is the mic-sharing, metaphor-soaked B-Boy lines. Lyrics which can offer the listener a quick summary of the MC's intelligence, awareness of surroundings plus their grasp on current cultural news. It's lyrics like these which are sadly missing in music since the turn of the century, as most artists see 'Ringtone Rap' as their focus. Hot Sauce (Pt 2) excels at recapturing the bravado of the 80's whilst balancing their current maturity, an album to showcase their skills. But I'll be honest, we were expecting that from the trio.

The added vocals of Nas (on the 'official' lead single 'Too Many Rappers'- revisited for the album, which attacks the skills displayed in the current saturation of hip hop artists) & Santigold (on 'Don't Play No Games That I Can't Win' that will have speakers busy all summer) only concretes the albums' energy. After the 2nd & 3rd album singles ('Make Some Noise' and 'Lee Majors Come Again' respectively), and present titles included, the album plays out like a well-constructed mixtape, with some songs changing tempo at the oddest of places as if to confuse the tracklisted times. But as you know, that is just the Beastie Boys letting their creativity run over the conformed structure that most albums adhere to.

I won't lie, on initial spins, Hot Sauce Committee Part Two is hard to listen to. It took me several listens just to absorb the album, and to earn an opinion worth sharing. But the longer I listened to it, the more my appreciation of the group grew. In a world of continual structure and rules, it's refreshing to see an album not fit so comfortably in 'those square holes'.

And (with a 4 outta 5 rating) that is why we need the Beastie Boys to release albums like this..

And that is why, in your own time, you will enjoy this album.

Bunk 01.05.11

Hot Sauce Committee Part Two
Scheduled release 01.05.11 (Europe & Japan), 03.05.11 (USA & Australia)
Capitol Records

DJ Quik - The Book Of David

Anyone who listens to even a little rap will know there are beatmakers and there are musicians. One could argue DJ Premier or Pete Rock as the master beatsmiths - years spent digging the crates and transforming masterfully chopped samples into neck-snapping hip hop. Then there are the musicians - those artists that possess the musical skill to create complex compositions with live instrumentation. They understand structure, cadence, composition, measure - advanced musical principles. And among those maybe DJ Quik stands the tallest.

The first thing anyone would say to that argument would probably involve that other superproducer from Compton, Dr Dre. It could also be argued that Quik is, as he stated in his second album, the genre’s most complete artist. Whilst Dre conducts sessions, Quik composes, arranges and plays many of his own instruments. Hell, he’s even a better rapper. And that brings us to The Book of David.

So, does Quik’s eighth studio album simply add another notch to an already stellar 20-year career punctuated by personal highs and lows and some of the best damn music ever produced in the field of rap? Or does it presage the Quik’s passage into musical obscurity as it has done to so many other long-suffering and underrated artists. Well, I’m happy to report that, in my humble opinion, it’s the former.

Firstly, The Book of David is a solid slice of music. It’s easy to say that Quik has been producing some of the funkiest hip hop around for many years. Who can forget tracks like Way 2 Fonky, 8 Ball, Jus Lyke Compton, Diggin U Out, So Many Wayz and the list goes on and on. So it’s both refreshing and reassuring in this day and age to hear Quik release an album full of tracks that just drip with his signature rolling basslines, experimental drums and P-funk styled guitars.

But does it sound relevant in 2011? I believe it does. Quik has already shown he can produce hits in the current musical climate - look at the BlaQKout or Fixxers albums. But after the soul-searching of Under Tha Influence and Trauma, Quik returns to his original sounds - they’ve just evolved into something superior.

And that’s the difference on this album. The tracks themselves don’t really speak to anything we haven’t heard already from Quik. There’s his musical prowess, his beefs, scandalous women etc. What shines here is Quik’s work on the mixing board. He’s a producer in the truest sense of the word. The only sound in rap that really comes close is Dre’s.

The balance of sound in The Book of David really needs to be appreciated. The basses are at just the right pitch, the snare sounds snap at exactly the right level, lush keys sit in the track just so, the vocals are mixed to perfection. Each track is constructed without repetition, unexpected sounds pop out of the speakers, chords and arrangements and melodies abound. And all the while it’s that Quik sound. There’s even the odd talkbox.

It’s not a perfect album. Quik’s a capable rapper, and as far as top producers that rap go, he’s up there. He really only has Dre, Pete Rock, Kanye and Erick Sermon as competition. Maybe Havoc or Dilla and a few others as equals. Point being, if there’s a down point to a DJ Quik album, it’s lyrical content. The Book of David is no different. However, all is forgiven with the production.

In terms of an album breakdown, here’s how I see it.

The albums opens strongly as most Quik albums do, this time with an off-kilter drum track that slams around the underlying vocals and keyboards. Quik proclaims his authority; ‘N-s got nerve / well, I’m your novocane’.

Quik then bounces straight into Do Today, a straight party track complete with Jon B crooning, a BlaKKazz verse, swirling boards and a classic west coast slap-clap. Following this Quik goes with venom at various family and friends (including his estranged sister). Hell, if it makes him feel better to get that off his chest, I’m happy to listen to the production.

The single Luv Of My Life is a track that pretty much represents the LA sound. The clap, the warm keys, the cowbell, the distorted bassline. Executed very nicely by Quik but isn’t necessarily his own sound. Still, you gotta love rolling to it on a sunny summer day.

Babylon is maybe a weak point on the album. The Bizzy Bone opening is just plain annoying, but the full buzzy key bed makes it listenable. Eventually we get past the chorus and all is good again.

The signature Quik 80s sound is again in full effect on Killer Dope. The lyrics are nothing to write home about (‘I bet Eazy-E is turning over in his grave / to see that some of y’all that make gangsta rap gay’ ...hmm) but the punchy piano and almost-cheesy horns make it work.

Jon B again turns up in Real Women, one of those Quik tracks speaking to the ladies. All good when the drums sound this cracking. And the rolling keyboards are kind of cute.

Poppin features a sparse backwards drum track that showcases his minimalist leanings and in doing so, sounds the most contemporary track on the album. Ironically, he calls out anyone comparing him to Dre (Freeze / stop comparing me to Dre / before I come through with the scope on the K) on a track that has more in common with a Dre composition than anything else on the album.

Hydromatic drops a healthy dose piano and horn stabs over a Bootsy-sounding vocal loop. Gift brings a nice lyrical lift to the track. But it’s the negative spaces in the instrumentation that really make this one a winner.

Across The Map uses large key and bass harmonies to create a track for Bun B to shine on. A little too Dirty South for my taste however, and a not really a pick for this album.

Nobody however, sees Suga Free return to feature on a Quik track and the result is joy. Possibly the rapper best suited to grace a Quik joint, Suga Free does what he does best and talks up a pimp storm over a track laced with all kinds of funk goodness. Pure gold.

The Don Mega himself makes an appearance on the Boogie Till You Conk Out. An unlikely alliance really, but it works considering there’s over 40 years’ worth of experience there. A guitar that sounds like a steel drum, a bouncy kick and keys that hover and twist like Hendrix is playing lay the foundation for Cube and Quik to tell us they are geniuses. Can’t argue with that, really.

Following that is my fave track in the album, Flow For Sale featuring Kurupt. A classic Quik bassline sits under guitars and bells that simply bounce along. The west coast never sounded so, well, classic in 2011. Like Kurupt growls; ‘I’m sayin’ / pure west coast, each note / Quik, Snoop, Cube, Dre, Dub, Rupt, west coast’. Indeed.

Next Quik continues the funk set with So Compton. This could have been made in 1991, 2001 or 2011, but as it stands it sits comfortably in this album. BlaKKass KK submits some capable lyrics over a rhythmic guitar and synth track.

The Dwele-assisted Time Stands Still is the obligatory R’n’B effort aimed at the ladies. All good, I can’t be mad, but it ain’t my cuppa. Another Dollaz And Sense wouldn’t go astray here in it’s place.

Finally The End serves up a slab of that Parliament-like funk. And it is solid funk. It evolves into a last-word type track from Quik, complete with slow-rock guitars and synthed pads. But here is the kicker; five minutes of silence followed by - you guessed it - a Quik’s Groove. How could it be a back-in-the-day album without one of these luscious servings of slowed down funkiness? Awesome.

So maybe as a long, long-time fan of Quik I’m biased, but The Book of David is everything I wanted from Quik in 2011, but was too afraid to ask for - his evolved funk sprinkled with some future flavours.

4.5 out of 5. Get this album not just to hear masterful musical composition, but to enjoy Quik doing what he does best.

S-killz (Esseven) 19.04.11

Planet Asia - The Bar Mitzvah

Planet Asia latest digital release offering The Bar Mitzvah isn’t exactly a long player but nevertheless delivers what it promises - bars upon quality bars. Despite only being EP length with a couple of remixes and a dodgy title, Asia’s slightly off-kilter flow and barb-like lines will keep this little gem on heavy rotation.

Fresno’s finest makes a bee-line for the gutter on the lead-off track The Great. Sounding disarmingly like an Inspectah Deck of the west coast, he launches into the track from the get-go and doesn’t let up. Even the sword clash stab and warm orchestrations sound distinctly Wu-like, but this doesn’t detract - it simply provides a headnod soundscape for solid lines like ‘I pull the tool out / make you move out / find a new route / jewels out; I’m something to see / Glock 50 on the waist bulging under my tee’. Gutter indeed. Good to hear some good work on the ones and twos as well - not enough of that these days.

If The Great was a little east-sounding, then Dig It goes straight back to the west with large horn samples and live sounding percussion as a backdrop to some searing bars. King Marvey X supplies some ragga-assistance to the sample-heavy On The Regular, on which Asia cements his place as one of the Left Coast’s premier hitters with lines like ‘California’s finest / Your highness / straight out the Gold Chain dynast / a bunch of juggernaut rap giants’.

The title track is probably the most west-sounding track, assisted by a capable John Robinson (who even recognises the Wu-influence; ‘he debuted in that Wu era’). A little slower on the tempo, Asia delivers his trademark monotone flow with straight-shooting old school brag.

Great Adventures is a posse cut that sees Asia doing what he does best, and supported by Lewis Parker, East Coast and Ty Born over an unpolished, sample-reliant beat. However in this instance, Asia’s ability clearly outshines both his support cast and the sub-par production.

Perhaps the most solid track on the EP, Best of Both Coasts again stands testament to Asia’s coast cross-over appeal. Here the Queen’s late Killa Sha shines with one of his last recordings. Asia is as on-point as ever, and ably followed by Tragedy Khadafi and King David over an ill piano-and-string beat. A solid effort.

The Audible Doctor Remix of On The Regular doesn’t really improve on the original with a repetitive horn-based track and a snappy snare, but it’s good see a full remix again. The Now or Laterz remix of the title track is far more successful and offers the EP’s smoothest moment. A Madlibesque vocal sample underscores a heavy low end and tinkly piano that somehow works a little better than the original.

The closing track Champion features an uneven Sav Killz and a piano-driven instrumental. Asia spits as normal, but this does feel a little like filler material.

Bucking the trend of late to steer away from samples (‘can’t stand n-s that give me beats with no samples’), The Bar Mitzvah is just what the odd title suggests - a celebration of lyrics. Don’t expect deep consciousness or social issues addressed, but do expect 90s style straight spitting with supreme confidence from one of California’s best. Much like his fellow Cali Agent Rasco, Medallions has his lyrical heart set firmly in the Golden Age and to his credit isn’t afraid to let it show (‘specialise in chains and four finger rings’). And that’s what fans of Planet Asia want - great slabs of that true school lyricism.

4 outta 5. Won’t disappoint.

S-killz (Esseven) 01.04.11

Snoop Dogg - Doggumentary

With the current climate of seasoned artists releasing sequels to their critically acclaimed debut albums, the world has had more than a curious eye on the potential 11th release from Big Snoop Dogg - so named Doggumentary Music – Doggystyle 2.

Dropping the idea of a sequel early on, Snoop amassed a collection of current producers/artists to collaborate with on (the now named) Doggumentary. As Snoop has shown throughout his career, his choice of ‘hot right now’ is always on point. Be it Wiz Khalifa (The Weed Iz Mine), Young Jeezy (My Fucn House w/ E-40), T-Pain (Boom) & the Gorillaz (Sumthin Like This - left off from the Plastic Beach effort by them). Add to the above mix established producers Kanye West, Lex Luger, Scott Storch, Battlecat & Fredwreck, plus fam members Goldie Loc, Daz Dillinger & R. Kelly it comes as a surprise that you find yourself hitting the skip button.

The lead single ‘Wet’ was created for the bachelor party to Prince William, and it should have stayed as that - a ‘one off’ themed song. Production from the Cataracts (‘Like A G-6’ fame) has the track destined for ridiculous club/radio play - but that doesn’t mean it’s good. The overplay of autotune to allow Snoop to sing is getting tiresome, as it comes off like a poor sequel to Kanye’s ‘Love Lockdown’.

The album bounces round with little flow, but that works in the album's favour. Snoop stated he ‘wanted the album to reflect his life & love of music’; so all genres are present from hood music (My Fucn House), pop/radio friendly (Eyes Closed) & country (Superman w/ Willie Nelson). But where as the mix of genres works, the songs themselves let Snoop down. Be it over saturation of Snoop in the media, or that we were biased to the potential Doggystyle 2, but the album has little to make you tweet your friend that you are banging a new Snoop Dogg track. And that is no mean feat with a solid effort; the album is quite long at 22 tracks (including the bonus David Guetta remix ‘Sweat’).

Snoop has delivered at best, a 3.5 effort of an album. And that’s nothing to brow-down over, as that is how ALL of Snoop’s albums rated (except the first of course). Apart from a handful of standout tracks (eg Vato, That’s That, Drop It Like It’s Hot, Beautiful, B Please), Snoop’s musical career seems bigger than it is - thanks to the carefully crafted product placement of ‘himself’. And maybe that’s Snoop’s charm, we never know where he will appear or what he will do next, but we can always count on him to provide solid music for the summer.

Bunk 27.03.11

Doggumentary
Scheduled Release March 29, 2011
Priority/EMI Records

Raekwon - Shaolin Vs Wu-Tang

After declaring war on the industry with his explosive OB4CL2, his 5th studio album ‘Shaolin vs. Wu-Tang’ sees Raekwon battle his toughest opponent in the rap game - himself.

To offer an album just as strong without RZA’s involvement had many haters ready to pounce, quick to surmise ‘beef’ was the reason. Rae stated he wanted to step out from his Abbot’s shadow, and cement his own footprints on the concrete.

It’s this focus that sees Rae’s energy & grittiness consume him on his new album. His fellow Wu fam Ghostface Killah, Method Man, GZA & Inspectah Deck are aboard to offer their best lyrics to date - and that is saying something with the trio out-writing their efforts on Wu-Massacre & Apollo Kids! Each member continues to prove why they are among the best today.

To indulge in his individual street-side, Rae goes outside the immediate family & collaborates with friends Busta Rhymes (Crane Style) & Nas (Rich & Black) plus Lloyd Banks (Last Trip To Scotland), Havoc (Your World, My World) and Rick Ross (Molasses) were invited. And it’s like each artist was feeling the pressure of appearing on a Rae joint, as they dug deep and provided their career-best bars. So sharp are the guests’ efforts, makes you wonder if this is the first time in a while that they have truly used their lyrical skills.

Production wasn’t short of perfect either. The tension almost overflows onto the tracks with Scram Jones, Oh-No & Erick Sermon, Cilvaringz, Bronze Nazareth, Mathematics & DJ Khalil mastering the boards to create a buckshot of the Wu signature sound.

If the huge task of delivering an album close to the all-time classic OB4CL wasn’t hard enough, Rae punched us dead in the face with OB4CL2. Well, Shaolin vs. Wu-Tang is the left cross to put us on our asses. The minimal dark tones, kung fu samples & craft-conscious rhymes emphasize the maturity of the record. Rae’s effort reminds us that the Wu-sound has evolved & still dominates the streets.

When ‘Enter The 36 Chambers’ was released, it saw a Shaolin side & a Wu-Tang side; a street-bred raw individual side versus a strong mentally focused team effort. And although RZA was the guru in setting the tone, Shallah Raekwon has shown that all apprentices, in time, become masters themselves.

4.5 - 5, as I can’t see this leaving my deck anytime soon.

Bunk 27.03.11

Released March 7, 2011
Ice H20/EMI Records

When you are at the top, and all opponents are defeated, how do you stay sharp? Battle yourselves & see who reigns supreme.

Mixtape of the Month - DJ Smoke's Hip Hop 101

‘Old School’- it’s a term thrown around to mean the original idea/theme, or that it’s an activity not seen these days. And I’ve found a mixtape with tracks so aptly described as Old School, I wish I had mixed it myself.

DJ Smoke has dusted off his ‘first love’ tracks of Hip Hop/Rap and blended them together for an 80-minute reminder so perfect, I almost cried with nostalgia (and yes, grown men cry, just look at the Miami Heat). Check out this brilliant effort from his Daily Dose series titled ‘Hip Hop 101: Old School Flavor’.

Artists who started this shit (and never got the thanks) include Marley Marl, DJ Jazzy Jeff & Fresh Prince, Gangstarr, LL Cool J, Ice Cube, Wu-Tang Clan, Eric B & Rakim, Public Enemy, Biz Markie, Snoop Doggy Dogg - actually, I could just continue to state the entire playlist.

This mixtape is pure royalty of Old School tracks will give you nothing but flashbacks to summer cruises with your crew, ball pick-up games, barbeques & the occasional mixer with the opposite sex.

5 outta 5 for this blast of classic tracks. Tracks that we all know the beats, all know the lyrics & all wish (at one stage or another) that we were THAT artist.

Bunk 27.03.11

DJ Smoke - Hip Hop 101
Out now