No group has ever meant business like EPMD. Parrish Smith and Erick Sermon are the epitome of business. Erick and Parrish have been makin’ dollars for over 20 years now. They released their first album in ‘88 (Strictly Business) and have been East Coast legends since. As a group they have faced a fair share of turmoil. They separated in ‘93 and re-united four years later. It wouldn’t be for long though because Erick and Parrish haven’t released any material for over nine years. Until this December that is when they released We Mean Business amidst controversy of the lack of DJ Scratch. DJ Scratch has been an important part of every EPMD album. In many senses, he is just as important to the group as Erick and Parrish are. So the questions is can they overcome his loss?…

1. Puttin’ Work In
Featuring Raekwon; Produced by Ty Fyffe
Not a bad start. It’s kind of refreshing to hear an album without a rap intro. And it’s even more refreshing to hear these Hip-Hop pioneers together. Don’t get me wrong though, this song is far from perfect, but it’s also far from obscurity.

2. What You Talkin’
Featuring Havoc; Produced by Erick Sermon
I could do without the superficial hook and the over-exaggerated instrumental, but this track is alright. On a sidenote, I’m surprised Soulja Boy hasn’t said anything about EPMD yet. They hit him with this gem: “The Oscar De La Hoya, the golden boy/I’m not dude, don’t believe I’ll show ya boy/Ask Destiny’s Child/ I’m not Soulja Boy”

3. Roc-Da-Spot
Produced by Erick Sermon
This is definitely what you’d call classic EPMD. The funk sample, the Biggie sample, the hook. Well done. I was feeling this one.

4. Blow
Produced by Erick Sermon & JFK
The first two verses were fire. The last verse was just off. I don’t know if it was recorded separately or what, but it just did not sound good at all. It’s a good song despite all that though.

5. Run It
Featuring KRS-One; Produced by Erick Sermon
KRS-One the black educator telling people “Get down on the floor” and making all sorts of ambience sound? Am I missing something? Isn’t he supposed to be busy being a positive influence to youngn’s? By the way, this song is terrible.

6. Yo
Featuring Redman; Produced by Erick Sermon & Marc Berto
Best song off the album period. I said no discussion! Who told Redman it was OK to outshine EPMD on their own album?

7. Listen Up
Featuring Teddy Riley; Produced by Erick Sermon
Some songs would be better acapella. This is one of them.

8. Bac Stabbers
Produced by EPMD
You know the phrase “Good idea, poor execution”? Well, this is a case of “Poor idea, good execution”, if that makes any sense at all. Leave it to EPMD to make a song for the bac(k) stabbers, and equip some old-school techno sample.

9. Never Defeat ‘Em
Featuring Method Man; Produced by DJ Honda
Erick Sermon sets it off over this engaging instrumental and Method Man bodys his verse. But then Parrish put me to sleep, he does not sound good over this instrumental.

10. Jane
Produced by Parish Smith
Every EPMD album has a song called Jane. It is typically just a song for the ladies, and it’s no exception this time.

11. Left 4 Dead
Featuring Skyzoo; Produced by 9th Wonder
This song sounds the same way it looks on paper. EPMD is the essence of true school Hip-Hop, 9th and Skyzoo are two cats who are taking Hip-Hop where EPMD took them before. Needless to say, this track is crazy, and definitely worth checking out.

12. They Tell Me
Featuring Keith Murray; Produced by Parish Smith
Keith Murray and EPMD have done some classic work together, this is not indicative of that at all. Skip/delete/sleep/right click… whatever you have to do, this one is not worth your time.

13. Actin’ Up
Featuring Vic D & Tre; Produced by Erick Sermon
A good send-off. Everything was on point here. Good guest spot, good instrumental, good lyrics. Nothing better than good but still…

Bottom Line:
This album will not attract any new fans for EPMD.  They stuck to an old formula with the exception of “Left 4 Dead”, and will most likely only appeal to old fans.  Still it’s a good album, and you should definitely check it out if you haven’t already done so.

nappyPicks: “Left 4 Dead”, “Never Defeat ‘Em”, & “Yo”

Download: EPMD feat. Redman – “Yo”

How do you label Ludacris? Is he a southern rapper? Is he a Hip-Hop mogul? Is he a rapper-turned actor? To me Luda is all of these, and none of these. When you think southern rap, you think of guys like Shawty LO, Soulja Boy, & Gucci Mane. I hope everyone can agree that Ludacris is on another level compared to those dudes. When I think of the word mogul, I imagine Russell Simmons, Jay-Z, & Suge Knight. These are people you can clearly associate to a record label. When I say Russell Simmons, you instantly think of Def Jam, Jay you instantly think of the ROC, and Suge you (hopefully) think of Death Row. When you think of Luda, DTP isn’t the first thing that comes to mind. Sure it’s a successful label, but Chingy is the only artist most people will recognize (and that’s saying something). As an actor, Ludacris has chosen great roles, but always gets stuck in a supporting role. Look at the movies he’s been in: Crash he plays the thief, Hustle & Flow he plays the successful rapper, and in Fred Claus he plays a DJ. 2 Fast 2 Furious is the exception. But as a recording artist, Luda has earned his place among Hip-Hop royalty. Theater Of The Mind has the potential to go Gold (maybe platinum) before the end of 2008. After that long-ass intro, you’re probably asking how is the album? Well…

1. Intro
Produced by The Runners
I was scratching my head for the first 40 seconds. But once the beat kicks in, this transforms from your average Intro to “Ultimate Satisfaction Part II”. Same slow beat with the strange loop, and the same Luda with the rapid-fire flow. I was pretty impressed with Luda’s lyricism until the last 30 seconds which is just filler. At the same time it’s an above average rap-intro, what more can you hope for?

2. Undisputed
Featuring Floyd “Money” Mayweather; Produced by Don Cannon
Floyd Mayweather is the first of four random celebrities to pitch in with a vocal sample. Didn’t really add anything to the song. This was a sick-ass track though. The beat was nice, I can see this being the new Don Cannon beat to freestyle to. But when it comes to the wordplay, my jaw dropped: “And if you sittin’ on chrome/I’ll call up my boys and have you stripped of ya medals like Marion Jones”. “Luda leaves intruders stretched out like gymnastics/And acrobatics I’m superstar status/The mouth of the South like Gangsta Grillz you bastard” This is a fucking banger!

3. Wish You Would
Featuring T.I.; Produced by DJ Toomp
Like Luda said “It was bound to happen sooner or later”. The two real “Kings of the South” sound real good over this bouncy Toomp instrumental. And they spit some straight crack for almost five minutes. And for once I can honestly say, I was really feeling the hook on this track.

4. One More Drink
Featuring T-Pain; Produced by Trackmasters
After the two songs above this track fucking sucks. It’s not a terrible track, but it’s clearly a single. You might hear this one in the club, but I’d advise you to skip it. It’s featuring T-Pain; that should already tell you something.

5. Call Up The Homies
Featuring The Game & Willy Northpole; Produced by Clinton Sparks
Not bad. Game and Luda exhibit some good storytelling here, over Clinton Sparks’ Dr. Dre-esque beat (with the heavy funk instrumentals). Willy Northpole’s verse seems out-of-place, but it was weak to begin with. I’m guessing Luda just stuck him on the track to improve the youngn’s sales since he’s signed to DTP. This might be one you will have to repeat.

6. Southern Gangsta
Featuring Rick Ross, Playaz Circle, & Ving Rhames; Produced by StreetRunner
Ving Rhames’ handles all the rapper’s introductions. Sounds like an MC introducing boxers before a fight, which is funny considering Ricky Ross is on this track. Luda turns in a good 16. I’ve never been a Rick Ross fan, but this is one of his better verses (from what I’ve heard anyway). And for the second track in a row Luda gives his DTP weed carriers a guest spot to bolster there sales. Still the same result, Playaz Circle sounds just as awkward on this track as Willy Northpole sounded on “Call Up The Homies”.

7. Everybody Hates Chris
Featuring Chris Rock; Produced by Don Cannon
Don Cannon is a much better producer than he gets credit for. DJ Drama doesn’t hold a torch to this dude, and I’m glad Luda realized it. Another sick beat, but Luda didn’t really hold my attention on this one. His lyrics fluctuate from generic to sick after every bar. And the hook…. Come on Luda!

8. What Them Girls Like
Featuring Chris Brown & Sean Garrett; Produced by Darkchild
This was the first single if I’m not mistaken and it’s nothing you should ever check out. Ever! Not saying it was downright terrible, but why waste your time?

9. Nasty Girl
Featuring Plies; Produced by Swizz Beatz
Another one for the ladies. This song left me wondering who actually bought Plies album? Really? You can enjoy that shit? Really?…Proof that anyone can be a successful Rap artist these days. Who needs flow and lyricism when you can loudly babble into a microphone? That’s what I want to hear! Smh.

10. Contagious
Featuring Jamie Foxx; Produced by Scott Storch
Yet another song for the ladies. This album has really taken a downward turn. On a random note, you’ll probably never guess that Scott Storch produced this track. It’s almost nothing like any of his previous work.

11. Last Of A Dying Breed
Featuring Lil Wayne; Produced by Wyldfyer
And we now return to the album called Theater Of The Mind. You can tell Luda saved his best lines for this track. Even though this wasn’t a single, this is probably the track everyone will skip to once they cop this album. Lil’ Weezy on one of your tracks is a bonafide way to sell records these days. As for the track, Wyldfyer provides a perfect instrumental for this head-to-head face-off. To me this was the song where Luda shows the world that he can flow with Weezy and hold his own. The first verse set the mood, and set up Wayne’s verse perfectly. I’m no Wayne stan but I’ll admit he came with a pretty sick verse too, even though his voice sounded hoarse as hell (lay off the lean homie). On a sidenote, it’s pretty fucking funny to hear Ludacris make a song declaring himself to be “One of the last lyricists alive”, when that’s nowhere close to realistic. And how do you possibly feature Lil’ Wayne on this song when he was partly responsible for the death of the MC? Aside from that hypocrisy this song was pretty good.

12. MVP
Produced by DJ Premier
Damn. Who would have ever thought Ludacris could secure a Primo beat? At the same time, who really wants to hear Luda over a Primo beat? No one. Even though I’m a fan of both artists, they don’t really sound too good together. I doubt this song will have much of a fanbase, aside from heads wondering how Luda got this beat. Seriously, first Termanology, now Ludacris. What’s next, DJ Premier producing Soulja Boy and 50 Cent?

13. I Do It For Hip Hop
Featuring Nas & Jay-Z; Produced by Wyldfyer
I was really disappointed with this track. Everyone came with their C game. Besides Wyldfyer (the producer) who came with his F game, this instrumental is terrible. Add Luda’s obviously hypocritical lyrics to Jay and Nas’ uninspired lyrics and you get this mess of a song.

14. Do The Right Thang
Featuring Spike Lee & Common; Produced by 9th Wonder
This is a pretty soulful send-off. It took me a few listens to fully appreciate 9th Wonder’s optimistic contribution and I’m still not really feeling the beat here. But it’s a good track, decent way to end this album.

Bottom Line:
I felt that Ludacris tried way too hard to make everyone happy on this album. He made a few bangers, a few songs for the ladies, and a few songs for the heads. I’m sure his fans will gobble up this album and tout it as a classic, but for people new to his music this may not be the best place to start. Just by looking at the musical features you can tell how different the songs are. T.I. & Nas, Common & Lil’ Wayne, DJ Premier & Plies… those names just don’t sound like they would ever be together. And that is what makes this album hard to listen to at times.

I got one thing to get off my chest. I don’t always agree with the ratings on this site. I don’t think Theater Of The Mind is an amazing album or even in the top 10 of ‘08, but it is better than Paper Trail & The Recession in my book, so that’s why it got the rating it got. And because I know y’all would leave angry comments.

Update: Okay, maybe it was a little high

nappyPicks: “Undisputed”, “Wish You Would”, “Call Up The Homies”, & “Last Of A Dying Breed”

Download: Ludacris feat. T. I. – “Wish You Would”

Bonus: Ludacris feat. Nas & Jay-Z – “I Do It For Hip-Hop”

The biggest thing that distinguishes rapper/sanger/producer 88-Keys is his willingness to experiment with different genres of music. To tell the truth, at first I thought this would be a very strange review to do on nappyafro given 88-Keys’ lack of a friendly label (Hip-Hop, Rap, soul, R&B…). But 88 has produced for Mos Def, Consequence, Talib Kweli and The Pharcyde. He also has features from Kanye, Kid Cudi, Phonte, and Redman. He fits the genre folks, don’t dismiss him from the get-go. That was never the primary concern for me though. I’ve never been a fan of concept songs: “I Gave You Power”, “Gotta Eat”, “A Friendly Game Of Baseball”…and less supportive of concept albums: The Cool, ATLiens, Deltron 3030. For those that have given this album a listen, and didn’t really have a clue what they were listening to, here’s a brief summary of the storyline: Adam (the main character), is your typical guy searching for sex anywhere he can find it. Adam meets a dime, dates her, and is shot down when he tries to take it to the next level (I can identify there, I won’t front). Then Adam moves from the ex-girl to the next girl, who he finds in a nightclub apparently. This is where it got confusing. They have sex, but Adam can’t please her, but they stay together still until Adam’s life comes to an end… The Death Of Adam. Sounds a little lame to me too, but let’s give it a spin.

1. Morning Wood
Produced by 88-Keys
Ehh. I can’t recommend listening to this track. Just all-around lame. And not in a late 70’s start of Hip-hop sense either. Lame as in you’re trying way too hard and it shows.

2. Nice Guys Finish Last
Produced by 88-Keys
Much better. I was really feeling the recording process on this track, 88 Keys somehow altered his own voice so it sounds like he recorded his verse through a phone or something. Sounds like “Who Shot Ya”. I was also feeling the beat and the “nice” vocal sample as 88 sprinkles some knowledge throughout his story.

3. The Friends Zone
Featuring Shitake Monkey; Produced by 88 -Keys
If your looking for some indie rock mixed with soft pop this is probably your shit, but I wasn’t feeling it at all. At all!

4. Handcuff ‘Em
Produced by 88-Keys
The beat was nice. The lyrics were somewhat nice. By this point in time, I’ve noticed that 88 Keys and Charles Hamilton are one and the same. The song was good if you want to just kick back and take in the sound, but once I started listening to the songs message it seemed mad corny. Like “Ms. Officer” off Tha Carter 3. And the metaphors keep on coming!

5. Stay Up (Viagra)
Featuring Kanye West; Produced by 88-Keys
Great instrumental here. The Death Of Adam and 808’s & Heartbreak seem to be sister albums, categorized as Hip-Hop but containing a lot more singing than rhyming. By the way, Kanye blows here (no surprise), and his Borat reference had me cringing… really ‘Ye… really? On the real though, this instrumental could carry the whole album because it is amazing.

6. There’s Pleasure In It
Produced by 88-Keys
This one is nothing more than an beat; this song would be an interlude on any other album besides this one. I wasn’t feeling this beat as much as the previous one, mainly because it was made around a moaning sample (F for creativity). Swap the instrumentals in the two previous tracks and you could have had a good song.

7. (Awww Man) Round 2?
Produced by 88-Keys
Seven songs in and I’m on the verge of falling asleep. Good instrumental and terrible lyricism again… SKIP! Learn how to rhyme homie, or just stick to producing.

8. Dirty Peaches
Featuring J’Davey; Produced by 88-Keys
R&B track. No, average R&B track. Don’t really remember how it sounded because it was so generic.

9. Close Call
Featuring Phonte; Produced by 88-Keys
It takes nappyafro favorite Phonte to really conjure up a verse deserving of 88-Keys superb production. The first two minutes of this track are the best of the whole album, after the first two minutes it goes downhill.

10. The Burning Bush
Featuring Redman; Produced by 88-Keys
So Redman becomes Adam for this skit/song, and goes to the doctor’s office because he caught an STD. I love Redman, but his three verses seem forced here, following a pretty consistent theme for guest features.

11. Ho’ Is Short For Honey
Featuring Kid Cudi; Produced by 88-Keys
I’m not a Cudi fan at all. But there’s something catchy about this track, but nothing that would make me repeat it. I do admire his rhyme schemes though and the sampling here.  Something to this track, you might have to check it out… maybe.

12. No. I Said I LIKED You
Produced by 88-Keys
I forgot to mention that there has been a girl telling the story at the end of every song. This track they don’t put her at the end, instead just giving her the spotlight. Easy skip for me.

13. M.I.L.F.
Featuring Bilal; Produced by 88-Keys
This is another soft R&B track. Nice beat, nice singing. Still kind of ehh…

14. Another Victim
Produced by 88 Keys
And we’re done! Nothing more to say about this song, other than it feels like the clock hitting 5 o’clock on a Friday. I’m glad to be done.

Bottom Line:
There’s a difference between Shawty LO and 88 Keys. Even though I have a hard time listening to both of them, I can’t hate on 88. This wasn’t my type of album, but I can’t give it a really low rating based on my distaste for the album. At least 88 is trying; a lot more than many artists can say for themselves.

Download: 88-Keys feat. Phonte – “Close Call”

1. Babylon
Featuring Howard Jones; Produced by T-Ray
At first it’s your usual self-righteous album intro, then the choir begins to sing and the drums/heavy metal instrumentals sets in. As a warning, a large part of this album contains heavy metal either in the chorus, hook or in the instrumental or maybe in all three. He actually features a metalcore singer on this track too. The instrumental on this song is really abrasive and annoying, I did not feel it added anything to this track. The lyricism itself heavily outshines anything T-Ray (nice name by the way jackass) could have ever hoped to accomplish. The chorus is sampled from a song which is in a completely different tempo so it doesn’t really mesh all that well. But despite all of those negatives, when Ill Bill flows he turns everything upside down with his insane lyricism. And the track appropriately ends with the theme of “Anatomy of A School Shooting” carrying over.

2. Doomsday Was Written In An Alien Bible
Produced by Ill Bill
The first time I heard this song I was quick to label it as weak because of the simplistic beat and awkward flow. But after a second listen, I found the genius of the second verse which is among the best I’ve ever heard. All the other aspects of the song are pretty average. The hook is in typical Ill Bill style, long and wordy, which makes it difficult to identify.

3. Trust Nobody
Produced by Ill Bill
Way too heavy of an metal influence for my liking. The flow was off, the beat is very quick and choppy which makes the lyrics very difficult to decipher. And when you do get to the lyrics you’ll discover that they are pretty weak compared to the above material. This was a delete/skip for me.

4. A Bullet Never Lies
Featuring Vinnie Paz; Produced by DJ Lethal
Ill Bill and the Jedi Mind Tricks collective have done some incredible work together, specifically Vinnie Paz (the anchor of Jedi Mind Tricks) and Ill Bill have done some great work. The production on this trick is pretty good, although the hook seems really forced and repetitive. Ill Bill once again turns in an average verse, and I believe he gets outshined by Vinnie Paz on this track.

5. White Nigger
Produced by Ill Bill
I heard this track for the first time back in late ‘06, I’m sure it had been floating around the internet for even longer than that. But I instantly fell in love with this track for the raw emotion and pure logic throughout. I could do without the first 30 seconds but the rest of the song is VERY good. Ill Bill narrates this story about how he grew up in Brooklyn as a white Jew who was attracted to Hip-Hop. Even though the title doesn’t suggest it, this is actually a track denouncing racism, and I believe it is very effective. Probably the best song so far. It’s comparable to “Peace Sells” from his first album.

6. My Uncle
Produced by Ill Bill & Sicknature
Another raw emotional song, this one is about how William grew up around drug abusers. I do like this song, but if it were executed differently (maybe minus Ill Bill yelling) it would be on a different plane of greatness. Still a song you should definitely check out though.

7. Riva
Featuring HR & Darryl Jennifer; Produced by Ill Bill
If you can possibly ignore the first 45 seconds of singing, moaning, and singing through nasal cords… you will reach a tribute song for Ill Bill’s daughter (I think). But it is more of an insult than a tribute; I’m still grimacing after listening to this song.

8. War Is My Destiny
Featuring Max Cavalera & Immortal Technique; Produced by Ill Bill
Minus the demonic singing on the hook this would have been a decent song… Ill Bill sounds very comfortable and at home over this instrumental, although I can’t say the same about Immortal Technique who sounds out of place over this beat. I found this to be one of Immortal Technique’s weaker verses and probably his worst collab with Ill Bill. Maybe a delete, definitely a skip.

9. Society Is Brainwashed
Produced by DJ Premier
No that’s not a misprint, Primo produced this track and Ill Bill definitely knows it. He comes out blazing and flows lyrical FUCKING murder all over this dark instrumental. The only downside of this track was the out-of-place vocal sample on the hook… otherwise an impeccable song.

10. This Is Who I Am
Produced by DJ Muggs
Two big names in a row… two amazing lyrical performances in a row. On this track Ill Bill explains his career in the rap game and all the shit he’s had to go through to just achieve a little bit of underground hype. He rides the beat for a solid two minutes and then Muggs lets it ride out at the end. A really good hook for a change too.

11. Too Young
Featuring Hero & Slaine; Produced by Darp Malone
A very innovative beat, with elements of violin (I think) and soft piano. The first verse starts off slow, Ill Bill’s verse is fire, then the last verse is pretty hot too. I wasn’t really feeling the hook on this track either.

12. Pain Gang
Featuring B-Real & Everlast; Produced by Cynic
This is probably as close to Hip-Hop heavyweights that Ill Bill can put together, both B-Real of Cypress Hill and Everlast of House of Pain have been out of the spotlights for a good 10 years. B-Real had the huge hit “Insane In The Brain”, and Everlast had “Jump Around”, it’s kind of a shame that most people will only recognize them because of these songs (it’s a shame that some people still won’t recognize them). Once again the hook is terrible on this track, and it really upset the great lyricism by both Ill Bill and Everlast… Everlast was on some Immortal Technique shit here. B-Real has always been a pretty weak lyricist and he definitely gets shown up here, and I would have to say it’s pretty even between Everlast and Ill Bill; both turn in great verses.

13. U.B.S. (Unauthorized Biography Of Slayer)
Produced by Necro
When I saw this song on the track listing I instantly thought it was a lame idea… I didn’t really like Nas’ biography of Rakim (”U.B.R.”) … but Slayer? Well, I was wrong, this beat is simply put amazing, and it helps me drone out Ill Bill’s boring lyrics. I wonder who he thought would enjoy this song?

14. Coka Moschiach
Featuring Raekwon The Chef; Produced by Ill Bill
Raekwon murders Ill Bill on this track. This is probably William’s weakest verse off the whole album and it does not come at a good time. Rae has been putting in work lately, I’m beginning to think Cuban Linx 2 (when it comes out) may not be the disappointment it will inevitably be.

15. The Most Dangerous Weapon Alive
Produced by Necro
Once again, this song starts off slow with a lackluster first verse, it is helped out with an above-average (yet not spectacular) hook… and then the last verse is ill as fuck. I’m beginning to wonder why Ill Bill didn’t have Necro produced the whole album for him.

16. Soap
Interlude… can’t say it’s worth your time, but it does set up the next track pretty well.

17. I’m A Goon
Produced by Ill Bill & Sicknature
This is more of what I was hoping for from this album, less metal and more turntabling… Sicknature’s influence on this track in turn makes it more DJ Premier rather than Killswitch Engage. I really enjoyed this track, I can’t pinpoint what it was specifically, but it was really well produced and the lyrics were on point.

18. Only Time Will Tell
Featuring Tech N9ne, Necro, & Everlast; Produced by DJ Muggs
Necro starts this track off in an incredible manner spitting an fiery verse, then Tech N9ne ruins the second verse (but I’m biased), and Ill Bill sounds incredibly awkward on the last verse. Not a good way to end this album.

Bottom Line
Huh… this album was a very mixed experience. I did not enjoy most of the heavy metal sampling/chorus work on this album. I did however enjoy the “Unauthorized Biography of Slayer”. Even though this album is only 60 minutes, you will have to listen to it again to uncover much of the symbolism behind Ill Bill’s rhymes… or to analyze most of his political and revolutionary tirades. The wide range of guest features on this album adds to it’s greatness but also subtracts from it’s playability. When Ill Bill does songs with like-minded artists it sounds real good, but when he features unorthodox metal singers on his choruses it just sounds out of place. The production is also pretty shaky, there are a good portion of the songs which are well-produced. But for some reason, the songs I disliked, for the most part were all produced by Bill. At the same time, the Primo and Muggs tracks were great, Necro did a great job and Sicknature helped out too. Not a bad album, but it’s filled with holes and mistakes. But that’s just my opinion.

nappyPicks: “White Nigger”, “Society Is Brainwashed”, “This Is Who I Am”, “U.B.S.”, & “I’m A Goon”

Download: Ill Bill – “Society Is Brainwashed”

Yeah, I know the album cover is just fucking ridiculous. But name one Hip-Hop head who hasn’t been waiting for this album to drop. Forscore and 12 years ago, Heltah Skeltah released an equally goofy album cover, both rappers hanging from the sky… in Twista Kamikaze fashion. As goofy as that album cover was, the music inside was gritty as hell…if you haven’t yet heard Nocturnal, it should definitely be on your to-do list of Golden Age Hip-Hop. For those who have heard Nocturnal and Magnum Force, this is obviously an album you had your sights on for quite some time. It’s been ten years since Heltah Skeltah has released an album. Don’t get it twisted though, both Ruck and Rock have been grindin’ out street singles on a consistent basis for those 10 years. In fact, they joined a Hip-Hop supergroup known as Boot Camp Clik, which is them, Buckshot, Smif-N-Wessun and O.G.C. It is kind of like the East Coast’s version of the Four Horsemen. Combined with the critically acclaimed first two albums and the huge underground of the Boot Camp Clik, this album has got crazy hype attached to it. I only wonder if it deserves the hype…

1. Intro
Featuring DonRocko, BummyFlyJab, & Alkatraz; Produced by D Dot
Imagine what’s happening on the album cover in song. It’s just a messy mix of death threats, bullet shot sounds, and random yells of “Heltah Skeltah” or “Boot Camp Clik”… and then Ruck (I think) decides to spit a few bars at the end. I guess it’s alright for an intro, but I would skip it.

2. Insane
Produced by Marco Polo
I wasn’t really ready for this track, but after about one minute I got really into this track. Marco Polo does a great job on the instrumental, especially with the dark, eerie mood he provides, and also with the “insane” sample. Heltah Skeltah rips this track a new asshole with their lyricism; I was really impressed.

3. Chipmunk 3000
Produced by Fatim
I don’t have much to say about this track. I wasn’t really feeling it at all.

4. Everything Is Heltah Skeltah
Produced by Ill Mind
Definitely feeling this track. “Fuck with Charlie Manson, tell you everything is Heltah Skletah”. This beat is very simple yet it fits almost perfectly to the rhymes. The lyrics are great, and it’s just a great song overall… I repeated this song 3 or 4 times.

5. D.I.R.T. (Another Boot Camp Clik Yeah Song)
Produced by Khrysis
“You so sub par/You subleasing/Subway sandwich eating, sucka type/Sucking your teeth in/Substitute the subliminal shots with some shit that sounds like the sub woofer when it go Rah Rah” Need I say more? This track fucking bangs! Also look for the same sample that Kanye West used on “Wouldn’t Get Far”.

6. So Damn Tough
Featuring Buckshot & Ruste Juxx; Produced by Ill Mind
Another raw-ass instrumental and some more grimy, gutter rhyming. The lyricism is amazing on this track… and watch Buckshot outshine everyone on this track.

7. WMD
Featuring Smif-N-Wessun; Produced by M-Phazes
Easily the best song so far. The Smif-N-Wessun verses are AIDS sick! Ain’t no fucking with this track.

8. That’s Incredible
Produced by Double Up
The beat is really boring, I was hoping for more from Double Up. And when Heltah Skeltah gets on the mic their verses are real weak. This is a skip for me.

9. Ape Muzik
Featuring The Representativz; Produced by M-Phazes
If this song was acapella it would sound like some 90’s lines. I liked The Representativz verse’s, but Ruck’s verse was ill as hell. The beat sounds like a Dipset freestyle instrumental (in the best way possible of course).

10. The Art Of Disrespekinazation
Produced by Khrysis
“Fuck rap riddles, get shells yo/I’m a beast, you a bitch like tickle me Elmo”…. You gotta check this song out, cuz it’s propane fire.

11. Hellz Kitchen
Produced by Evidence
This beat is straight fucking horrible. If it wasn’t for the track-saving lyricism I would have instantly skipped it. The lines on here are crazy, but the instrumental is what ties it all together, and it’s nearly non-existent.

12. Shmack Muzik
Produced by Sic Beats
This song is the opposite of the above one, you’ve got an appropriately sick beat… only the rhyming is boring and monotonous. The hook is terrible too (one of the very few times I can say that about a Heltah Skeltah track).

13. Twinz
Produced by Ken Ring
I’m not really a fan of slow beats and quick flow… but I guess if that’s your thing, you will like this track. Once again Ruck saves this track from obscurity with his great verse at the end. But it’s too little too late.

14. Ruck N Roll
Produced by Stu Bangas
Who hasn’t freestyled over this beat yet? Seems like it was only Heltah Skeltah, and now that they’ve done their freestyle on this track maybe we can get rid of this instrumental already. Not exactly the ideal way to conclude your return to form album…but it’s different strokes for different folks.

Bottom Line:
This album was everywhere, from great songs like “WMD” and “D.I.R.T.” to what were they thinking like the “Intro” and “Chipmunk 3000″. I found much more successes than failures, but at the same time I had no clue what the hell I was listening to way too often. I respect that Heltah Skeltah is trying to be “different”, but they sound like jackasses just like the album cover at times. I say this has about six or seven tracks that you should hear, about five or six that are average, and then two that nobody should waste their time on.

nappyPicks: “WMD”, “The Art Of Disrespekinazation”, “D.I.R.T”, & “Everything is Heltah Skeltah”

Download: Heltah Skeltah – “The Art Of Disrespekinazation”

I remember when I was 8 years old walking home from school, and I’d hear Large Professor’s voice booming over a car stereo as I walked by. To this day, I won’t forget that Main Source brought me into Hip-Hop, real Hip-Hop nonetheless. I grew up in Toronto, Canada and probably because of the lack of homegrown cats we had, everyone (and I mean everyone) banged the shit out of Main Source. After Main Source broke up in 94, I was really hoping and waiting on Large Professor’s supposed “solo career”, but it never took off. But then early in 2001, I remember hearing that Large Professor was set to release a shelved album that was supposed to be released in 95′ or 96′… and of course I scooped it up as soon as it came out. And I loved it, it obviously wasn’t as much an album as it was a compilation of remixes and b-sides off vinyl records…but it had the same effect. It brought me back to real Hip-Hop. And then Large Pro released another album just a few months later called The Class. If you can’t tell by now, I’m really biased, and I honestly believe The Class to be one of the best hip-hop albums released in 2002. But then sadly, just as Xtra P had created insane buzz for another album, he fell off the map (as an rapper not a producer) for nearly half a decade. That is until today, when he releases his quote-unquote comeback album…

1. The Entrance
Produced by Large Professor
I forgot to mention that Large Professor is a fucking Nobel-Prize winner in the studio… so you know this whole album will have the hottest instrumentals known to man. The instrumental has heavy sampling of funk and heavy jazz which should set it apart as a great instrumental, but when you add Large Pro’s multisyllabic rhymes in here, you get an unbelievable intro. I could quote something, but he spits fire for two minutes straight.

2. Hot: Sizzling, Scorching, Torching, Blazing
Produced by Large Professor
And this is a bit of a dropoff, the beat is boring and really detaches from the insane lyricism again. The hook is pretty weak too, but since Large P adds a new loop just for the hook it sounds infinitely better. The vibe’s still there though!

3. ‘Maica Living
Featuring Killah Sha & Guardian Leep; Produced by Large Professor
This is more of what I was expecting from this album: gritty, raw production with grimy underground rhymes. Weak hook and the beat is pretty simple, which is to be expected when you’ve got two features on one song, I do like the pow-pow sample though… livens things up a little bit. This is one of those 90’s tracks, which you just nod your head to unconsciously. Watch for Killer Sha’s “killa” verse too.

4. Pump Ya Fist
Produced by Large Professor
Wasn’t feeling this track at all… the beat is too poppy and moves way too fast and that makes it hard to keep up with Mikey D Lotto and Xtra P. This was a delete/skip for me.

5. Party Time
Produced by Large Professor
So Large Pro called a political/social commentary song “Party Time” and he called a fast moving party song “Pump Ya Fist”… this song needs to trade titles with the above song. After I got past that confusion, I found a great song with another simple yet effective instrumental which Xtra P tears to pieces. The hook seems forced as it is not necessary at all on this track. But don’t confuse a weak hook for a weak track… cause this shit bangs.

6. In The Ghetto
Produced by Large Professor
I had to listen to this song a few times before it grew on me. It doesn’t seem very good at first, but once you get past the nearly non-existent beat and almost spoken-word rhymes… you will discover a song that makes you think. Great use of storytelling.

7. Hardcore Hip-Hop
Produced by Marco Polo
Everything I love about Hip-Hop all mixed into one on this track. Add a soulful jazzy beat to 60 bars of straight crack and turn tabling on the hook. One word: fire! Should have called this track “Dragontales”.

8. Frantic Barz
Produced by Large Professor
Really weak… that’s all I can really say. Any time an artist spells bars “Barz”, you can tell your in for a disaster. Trust me and just skip.

9. Sewin’ Love
Produced by Large Professor
Ain’t really feeling this track so much either. It’s not bad, it’s just really boring, in fact I just heard this track and don’t remember a thing about it.

10. RuDopeDapnNoyd Pt. 1
Featuring feat. Jeru Tha Damaja; Produced by Large Professor
Starts off in “Who Shot Ya” style… and ends in Jeru The Damaja spitting a hot 30 second verse. This track was nice, even though it is only a minute long.

11. RuDopeDapnNoyd Pt. 2
Featuring Lil’ Dap; Produced by Large Professor
Another short verse, except this time it’s Big Noyd, who fire breaths all over this track.

12. RuDopeDapnNoyd Pt. 1
Featuring Big Noyd; Produced by Large Professor
Big Noyd stars on a track called “Dap” and Lil’ Dap stars on a track called “Noyd”… is there some inside joke I’m not in on? This is the song that will end the three song run of Gang Starr family features… and it’s by far the worst of the three. BY FAR!

13. Classic Emergency
Produced by Large Professor
Large Pro’s awkward flow ruins this promising beat, and very promising hook. I’m definitely not feeling the weak metaphors either.

14. Rockin Hip-Hop
Produced by Large Professor
I don’t even know what to say about this song. Probably because I’ve already forgotten all about it.

15. Large Pro Says
Produced by Large Professor
Your typical interlude produced by the artist. “Do the bounce like you from down south” ?

16. To The Meadows
Produced by Large Professor
Large Pro starts off by murdering this soft instrumental and then he lets the beat go for a minute. Great song… probably the best display of lyricism on the whole album.

17. The Hardest
Featuring AZ & Styles P; Produced by Large Professor
Wow… I was about to say this album fell off something crazy in the second half but this track takes it back. You could already tell this track was gonna be hot with AZ and Styles P, and they definitely deliver. This track goes hard the whole way, great way to end.

Bottom Line:
This is definitely not what I was expecting from this album. If your expecting gritty, raw rhyming on every track you’ll be disappointed. And if your expecting Large P to come with fire on every track, you’ll be disappointed too… but if you have your expectations in check and are hoping for a consistently good album, you won’t be disappointed. The first half of this album actually really surprised me… but once you get to track 12, this album really drops off, and doesn’t pick up until the very last track (which is fucking fire).

nappyPicks: “The Entrance”, “Party Time”, “Hardcore Hip-Hop”, & “The Hardest”

Download: Large Professor – “Hardcore Hip-Hop”

Before Lupe Fiasco & Kanye West, before The Coup & Immortal Technique, and even before Common & Nas, Public Enemy was the first group to mix political/socially conscious lyrics with instrumentals full of samples and heavy bass. To have an Ice Cube, or a Paris, first you need a Chuck D, to have Just Blaze or Timbaland you need The Bomb Squad, and lastly Public Enemy would never be the group it is today without Flavor Flav, useless or not, he partly creates the unique sound that made PE relevant today. Let’s go back to 88′, 10 years after Afrika Bambaataa established Afrocentricity in Hip-Hop, his influence had declined and Hip-Hop and it’s subject matter was being carved by 5 “Niggaz With Attitudes” who saw insane commercial success rapping about “money, hoes, & guns” (the rims would come later). On the opposite coast, Rick Rubin and Def Jam held the threshold of successful rap records and picked the winners by hand. At the same time, just as Def Jam was losing it’s reign at the top, the second coming of Grandmaster Flash and The Furious Five was quietly recording records in Long Island. Def Jam quickly scooped them up, released “Yo! Bum Rush the Show” and grew confident in the socially conscious group. Just a year later, Chuck D, Flavor Flav and company released their second album under a more controversial name: It Takes A Nation Of Millions To Hold Us Back… the two protagonists behind bars. The album was met with positive acclaim, eventually peaking at #42 on the Billboard Top 100. Then years later, people really began to appreciate this album for what it is; a modern masterpiece.

The first thing you’ll notice when you give this CD a listen is the bass-tastic instrumentals and Chuck D’s controlling baritone voice. Beyond that, The Bomb Squad did a great job sampling and controlling FLAVA FLAVVVVVV’s random outbursts to a bare minimum. Chuck laces the wax with insane lyricism: “From a rebel it’s final on black vinyl/Soul, rock and roll comin’ like a rhino/Tables turn/ suckers burn to learn”. And my personal favorite: “Never badder than bad cause the brother is madder than mad/At the fact thats corrupt as a senator/Soul on roll, but you treat it like soap on a rope/Cause the beats in the lines are so dope”. This album is a seamless combination of Chuck D’s ardent pro-black lyricism and The Bomb Squad’s innovative and eventually influential production. What more could you want than an album that’s a great listen from 1-16?