Tag Archives: NY Hip Hop

Operation Doom Discography 2000-2005

Operation Doom Discography 2000-2005

by Dan-O

M.F. Doom was so active during this period of time I am going to have to separate this into stuff you need to hear and stuff you absolutely don’t.

Must hear:

King Geedorah-Take Me to Your Leader=Simply put one of the best produced independent albums ever. Doom is on the boards for every song producing, arranging, mixing and mastering and he is so utterly perfect that the skits will bring tears to your eyes. He drills down on sampling the Godzilla universe and finds soundscapes no one before or after could. The downside is Doom doesn’t rap on every song but he does rap on over half which is more than enough to carry it. Other voices put in admirable work (Hassan Chop on I Wonder and Mr. Fantastik on Anti-Matter). It is not nearly the cluttered hostile thesaurus fight of Monsta Island Czars.

MF Doom-Mm…Food=All but 3 tracks are produced by Doom. This was actually the first Doom album I heard and like all solo Doom ventures (I’ve encountered thus far) it surpasses its mission statement. This should be a fun exercise in food metaphors but he can’t himself One Beer is fire with lines like “Crooked eye mold nerd  geek with a cold heart/probably still be speaking in rhymes as an old fart.” These songs are not jokes Deep Fried Frenz is a must hear peak into the diminishing relationships you experience on the way up. It is jam packed with quotable lines delivered with his trademark icey cool.

Viktor Vaughn-Vaudeville Villain & Venomous Villain=Upon first listen I really dug these albums. They took Operation Doomsday’s development of the villain character and pushed it meaner. Doom doesn’t produce any of the songs (the production style is less soulful and more jagged than other projects but that fits for the content) so he gets to let his pen fire. Venomous Villain has songs like Back End, Ode to Rage, and the startling story song Bloody Chain (where Poison Pen should have refused to rhyme after him). Vaudeville Villain has songs like The Drop (where he warns never trust no Kardashian back in 2003!),  Raedawn, and G.M.C. All the songs listed are so unforgivingly lyrical so vividly actualized I couldn’t help but question if he was the utter evolution of Biggie able to threaten in ways that shake your bones switch up make you belly laugh with a silly reference, tell a crime story that pushes you to the edge of your seat and pulls you back by the end. These are not the known classics of Doom’s catalog but they are classics.

DANGERDOOM-The Mouse and The Mask=most reviews I saw for this framed it as a gag album. It comes out at the height of Adult Swim fanfare and is a perfect nerd fantasy. Danger Mouse is still in his daring try-anything-cool mind state and Doom still destroys all available space his voice fills. Too many funny crazy interesting lines to quote, and you get to hear Ghostface rhyme with Doom (I have a theory that Doom influence revived Ghostface and helped kick off his best period. Supreme Clientele drops a year after Operation Doomsday DANGERDOOM & Madvillain drop right around the Pretty Tony/Fishscale time period(Doom produced my favorite beat on Fishscale 9 Milli Bros).

Madvillain-Madvillainy=I expected the importance of this album but I was still awed by the structure of it. It reminds me of the debut album Pink Flag by the punk/art rock band Wire. All the songs are short and feed into one another. Neither Doom nor Madlib is even thinking about hooks. Lyrically I see Madvillainy as a cut off. He is now being reviewed by Spin and Rolling Stone so he backs away from the personal content of Operation Doomsday and stays in pocket just hammering away at the craft; dizzying verse after dizzying verse he is more a master of ceremony than ever but less the person we got to know. It’s not as bad a trade off as you would think (think Reasonable Doubt Jay v. Blueprint Jay).

Nevermind:

MF EP(Doom and Grimm)=I really don’t have much affection for M.F. Grimm. The 2000 collaboration between the two is way too much Grimm who is a product of his time. In an interview he described the difference between the two of them very well. He said when they started rapping together Doom was on that conscious ish and he was rapping about breakin’ dudes legs. That is exactly the problem with Grimm. His ceiling as an MC is just over his hairline.

Monsta Island Czars-Escape From Monsta Island!=Easily my least favorite step on the journey. On The Mouse and The Mask Doom mocked his M.I.C. days calling them “Midgets Into Crunk” and they are that kind of joke. This album has 20 songs on it with just under an hour run time and no actual driving point. Only six tracks are produced by Doom including skits (under his moniker King Geedorah). My favorite of those beats is the rich and tense 1,2…1,2 but he doesn’t rap on it. This album did illuminate how special Doom is as an MC for me. One after another of this crew (King Caesar, Rodan, Gigan, Megalon, Kong, Spiega, it never ends) spat dour threatening verses with killer scrabble words dressed to impress and it was awful. On the one song he gets to himself Geedorah roars, muses, brags, is hilarious and distances himself from this mountain of average dudes he knows from around the way. This album illuminated the stark contrast between the average 90’s/early 00’s rapper and M.F. Doom.

On to the next phase!

 

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Mixtape Review-The Program by Cam’ron

Mixtape Review-The Program by Cam’ron

by Dan-O

I may have been more excited for this mixtape than I have been for any all year. While people can consider Cam out of the spotlight, past his prime, whatever way you want to say rap has “passed him by” I disagree.  1. Rap hasn’t passed him it has embraced him. The new generation of eccentrically dressed weirdo rappers are very very Dipset. 2. Cam has been laying incredible guest verses for a while now:  see S.D.E. by Dave East featuring Cam, see Moving Weight Pt. 1 by Pete Rock & Smoke Dza. 3. What an artist does when the spotlight has passed is a very critical part of their career. It clarifies how much of what you loved about them was authentically present within or just came out when all the eyes did.

Given that Cam had been sharpening his sword and watching the game I figured he was ready to talk crazy again. The Program delivers! On the first song (It’s Killa) he tells the story of Ma$e calling him to bail him out of a tough spot in some ugly projects and Cam saving him by showing up strapped and making it known. Once the trouble passes Ma$e offers Cam a $100 and Cam feels insulted being a very profitable drug supplier. The song Coleslaw starts with “Kanye got on stage what he do? Play Jay-z out. What he do next? Check into the crazy house. F*&^ that you made a living talkin’ greasy, besides that man you Yeezy with the Yeezy’s! Be yourself you ain’t gotta go AWOL and F@*$ that Ye I been this way since Ye tall. If you regret it than dead it  but if you said you said it you meant what you said can’t tell me forget it, FORGET IT. I’m different I’m from a different type of hunger N_.” The immediate internet response probably views this as a washed up artist looking to trend but that ain’t Cam.

The Program reveals Cam’ron as the 1992 Charles Barkley of rap. That special kind of artist who gets to say exactly what he wants and survive it; laugh in the face of 50 Cent and Bill O’Reilly. He’s goofy enough to make Cyndi Lauper’s Time After Time into Dime After Dime and absurd enough to use a fantastic Jus Blaze beat to make a song about kissing the mirror (Kiss Myself) but even the jokes let sincerity shine through. I love the first verse of Lean. He uses Bill Withers Lean On Me to floss drug tales but his beating heart is behind these stories.

“(Lean) They couldn’t understand me, now I find it ironic

I grew up with Big L, all I knew was ebonics

Jealousy, crack, greed, homicide and chronic

Where niggas catch a body, changed their name like the Sonics

It was hot like Phoenix

I used to look up at the Lennox Ave sign hand on my heart and pledge allegiance

Drama 15 years straight, nothing recent

But I’ma call the state for back pay, they owe me grievance

And you can’t knock that, block the block with the top back

Open up that Fanta, I got that”

If you listen to the 15 songs and shake your head because Cam is too much: Remember Game is too petty or the Curve skit is odd… you have a fair first reaction. Listen to it again and try to hear how sincere he is on U Wasn’t There. Keep in mind you might not ever find a new Cam.  Ask yourself honestly if you miss this kind of big anthemic NY hip hop production with sharp lyrical humor over it. By the third listen the questions will fade and you’ll just be grooving.

stream or download The Program below:

http://www.livemixtapes.com/mixtapes/45375/camron-the-program.html

Song Review-Bamboo by Skyzoo produced by MarcNfinit

Song Review-Bamboo by Skyzoo produced by MarcNfinit

by Dan-O

Skyzoo is so gifted that at times he’s too much for himself. At points in his discography his high IQ on jazz meets his high IQ pen and he puts out projects no one can understand. His new eight song project Peddler Themes is Skyzoo in my favorite place.

Bamboo is the most precise example: the beat takes boom bap nostalgia to real trunk rattling levels, the chorus is totally unique, intelligent and catchy while his verse is not just intelligent (everything Sky does is intelligent) the images are vivid not just telling the story but showing it to you. Examine the first verse and how the song opens “And he said, the strap black like fab 5 apparel/Sweet 16 running laps outta the barrel/Said it sing lullabies that’ll wrap you like a carol/Ducking that is like juggling laps with a Camaro” good writing grounds you in the scene with detail and Peddler Themes is full of emotionally rich detail. Skyzoo didn’t set out to make a drug rap album or a drug dealer movie but a painting built from hundreds of careful brush strokes.

That being said Peddler Themes color is still very fun. Just listen to Skyzoo (produced by his old friend Illmind) flex effortlessly on Finesse Everything. I think a lot of rappers at the higher end of lyrical density have a tough time getting out of their own way but when a razor sharp expert stays loose, has faith in the design, and pushes forward the result is usually something exciting and Peddler Themes is absolutely that.

Goodbye and Thank You-Prodigy

Goodbye and Thank You-Prodigy

by Daniel Olney

Anger and depression are the most interesting shows to watch they present the adversity that begs the question; how to overcome it. Entertainers are well aware of this and some of our favorite musicians (rappers being no exceptions) are actors digging through the lovely life they have for the faint impression real strife left on them. Every album, every song needs to reset and grab a fresh hold on that old place they don’t live in anymore.

The first time I heard the voice of Albert Johnson (who we all knew as Prodigy of Mobb Deep) I didn’t feel the terror of Jason in the hockey mask. It was as if all the jittery shame left me and I was alone with my burning hostility. I was already psychologically aware of how destructive the tendency was and I wanted to be peaceful(I worked on it and still do), the hostility that still bubbled was something I worked to not feel or to at least pretend I didn’t.

When his voice came through the speaker It cleared my conscience. Prodigy presented an anger that went well beyond entertainment. Death, imprisonment, and violence followed him and publicly he never blinked. He never did major name collaborations, never electronically modified his voice so he could sing.  He knew pain like very few people, his whole life haunted by Sickle Cell Anemia, calling Prodigy a voice for the disenfranchised is accurate but not enough.

His voice was a tragic lesson in being in pain pushing through it, getting mad pushing through it and each time the push gets made folding the unresolved negativity over until it is thick enough to become your character. His hooks were simple and short because he just loved to rap, he needed all the space. Off on his own with a band of characters by his side (Alchemist, Havoc, etc).

Losing him felt like losing permission to, through gritted teeth; speak of the ugly perils this life provides. Allowing tone to become as heartless as the truth is without feeling the need to apologize.

To be raw forever or even to be raw at all.

Prodigy scared all of us. He threatened to leave our stomach on our shoes. He might shoot us playing basketball without even knowing us. I never knew anyone that listened to that music with hopes to emulate the lifestyle. He never made it seem that good.  P was surviving and inflicting himself on the world with the power of authorial genius reserved for top tier artists.

If you believe in a heaven and hell you should be scared that he passed away. If you believe he was a good man he’s going to have some choice things to say to the divine power or whoever has to face him. If he is going to hell no one will be better prepared. Whatever elaborate torture that turns out to be his greatest fear is likely to fall on dead nerve endings. P once called his heart an ice box.

He was the Santa Claus of misery for relieving me over and over of the hostility he knew so much better than I did, for speaking the ugliest truth while his opposition made the shiniest medication music. He spawned a whole genre of people doing that music to varying degrees but they’ll never find his sweet spot, his off-cadence on-cadence monotone.

“In other words please stay the fuck from out my face, provoking me to turn to a monster, you push me into a corner you know what’s gonna come.” —-Prodigy on the song Raw Forever From Albert Einstein 2: P=MC2

I can’t imagine him resting peacefully but he’s definitely earned the right.

Song Review-Marksmen by Roc Marciano featuring Ka produced by Arch Druids

Song Review-Marksmen by Roc Marciano featuring Ka produced by Arch Druids

by Dan-O

I don’t think any song on the new Joey Bada$$ album (All-Amerikkkan Bada$$) is as important as him going to Hot 97 and telling them NY radio hasn’t grown. He was correct but I would have changed the ageism laced in his argument. The problem is not that Funkmaster Flex is old it’s that his ear is old. Roc Marciano is only ten years younger than the 48 year old Flex and Ka is only four years younger but they are both a vital part of the character of NY hip hop rebuilding itself in 2017.

Roc Marciano’s album Rosebudd’s Revenge is bigger denser and more fun(as well as experimental) than any project he’s released before. He collaborates with Ka on Marksmen which is a cannon ball sailing at rappers doing throw away music. The interview sample at the beginning about getting better and better is more than a guiding principal it could be a commandment. In this song Roc Marci says “you hit the notes flat, my whistle blow and make the crystal crack” and Ka starts off the song with “To our production, much destruction for our appetite. With steel fist if meal missed wasn’t for lack of might.” Is anyone as careful with each word as these two? Every song they step on together is two artists of a like mind discovering a higher level.

Younger important NY hip hop artists like Your Old Droog and Westside Gunn are ten or fifteen years younger than Ka & Marciano but are painting with the same colors. Age isn’t the problem it is art. Ka and Marciano are artists who create pieces not hustlers making lifestyle music (no shots, I love fun ad-libs). It feels like NY radio (and the magazines) were so wrapped up in the pettiness loop that they forgot about the artistic standard the music is held to. They were calling somebodies flow trash or fire without looking at the song like you look at a completed painting or poem. Their context is trash. Each song these two make hangs in the gallery of their discography and should be reviewed that way. It’s not a movie, it’s a landscape you have to keep looking at to find all the detail in the background that indicates the skill involved, the patience, and the vision.

Song of The Year-The Space Program by A Tribe Called Quest

Song of The Year-The Space Program by A Tribe Called Quest

by Dan-O

2016 is full of classic artists finding new footing: Common, Snoop Dogg, De La Soul, and now Tribe Called Quest. Each one of them when asked is clear that they are inspired by this new generation and wants back in the game. If you doubt this look at the long awaited Tribe album We Got It From Here…Thank You 4 Your Service. While it features names you recognize (Talib Kweli, Busta Rhymes, and Consequence) it features important contributions from new school warriors Anderson Paak and Kendrick Lamar.

If you doubted how durable the Tribe experience is this album will resolve that. The Space Program is a great example of the wicked precision in their craft. The samples hit in the perfect place and feed the vibe which births the verses. The Space Program isn’t a beat with rhymes it is conducted from the laughing sample doubled behind the start of Jarobi’s verse to the hand claps that jump behind Tip as he starts all the way to the Gene Wilder sample that closes it out. These guys operate on a level of intelligence and musical instinct that not only can I not fathom but it leaves my favorite rappers marveling. Lyrically they never get enough credit because the lyrics always fit so snugly into the music(Jarobi is a monster!) ; it always envelopes you as a general vibe.

Tribe didn’t have to do a reunion album where they made music to feed your nostalgia the same way they knew it wouldn’t make sense to jump into this new generation’s music and ape it. The reason for We Got It From Here…Thank You 4 Your Service is quite simple: Tribe never existed with the zeitgeist. They influenced it from outside(whenever they felt like it), ever since Q-Tip lost his wallet in El Segundo.

Mixtape Review-All or Nothing: Live It Up by Lloyd Banks

Mixtape Review-All or Nothing: Live It Up by Lloyd Banks

by Dan-O

Hillary Clinton and Lloyd Banks are more similar than you might think. In the same way the public looked at Hillary confused for staying with Bill after all the cheating, expecting her to explode in front of us, Lloyd was called out publicly over and over again by his mentor 50 Cent for being lazy and not promoting himself and said nothing publicly. Banks believes in loyalty with no regard for outsiders.

On his new mixtape All or Nothing: Live It Up the first song (Pledge of Allegiance) states repeatedly “Trust nobody that ain’t family, they’ll switch up on you fast.” It’s what separates him from Game, both have virtually the same skill level but Game is an epic self-promoter willing to do whatever it takes to trend. So while 50 Cent might see Banks as lazy, and the average fan will wonder where he goes in between mixtapes (not a promotional tour) on All or Nothing he articulates himself as someone who wants to focus on art the way Hilary  just wants to focus on policy. Neither campaign for themselves particularly well.

She is great at the work of government and he’s a great lyricist but neither wants to win the homecoming king/queen of public opinion. Familiar producer names for Banks fans are present here as Tha Jerm gets two songs, Doe Pesci gets three. Even new names sound familiar; everyone just wants to give Banks something that will bring him back to that Born Alone, Die Alone state of being. After all the waiting, the long hiatus, how much rap has changed…Banks steps back into his old sound like he never left.

When he works with guests he is never outshined. Prodigy and Vado get loose over the haunting violin of Mr. Authentic’s Seniorities beat but Banks is better. Joe Budden throws bar after bar at the warped boom bap of Doe Pesci’s Transitions beat and Banks doesn’t bother tacking on extra verses on the back to not get shown up. He’s confident in what he’s doing.

The best songs on All or Nothing: Live It Up are Banks by himself.  As the cymbals crash on Bags of Gold (produced by Quis Star) he wraps his words around money and paranoia in a unique rhyme pattern that is amazing to listen to. My favorite song is Miserable; he raps the first verse to a loved one and pledges that his word is all he has, being authentic and reliable means a lot to Banks but not in the way we understand it.

He wants to achieve his personal artistic goals and live up to the high bar of New York hip hop lyricism without being touched by the oily tentacles of industry politics. That’s why he doesn’t opt into big marketing; he just drops it and knows that whoever listens will get more than what they paid for.  As he weaves words together at a fiery pace on Holy Water(2nd favorite song) you start to realize that he is driven but its personal and long term . Makes for a great listen.

Stream or download All or Nothing: Live It Up below:

https://spinrilla.com/mixtapes/lloyd-banks-all-or-nothing-live-it-up