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Mixtape Review(Mashup edition)-American Godfather by Jay-Z & DJ Skee

Mixtape Review (Mashup edition)-American Godfather by Jay-Z & DJ Skee

by Dan-O

It bothers me that the mixtape revolution which gave us hip hop in its modern form is hard to find traces of. You can still scour datpiff archives but when I throw “Kush and OJ” through my Amazon unlimited search bar it comes back with nothing related to Wiz Khalifa (I have not checked Itunes but Google Play didn’t have it either). The advancements in hip hop mixtapes that caused a need for Freemusicempire came on the backs of brilliant artists who will never end up in anyone’s top five (not because of lack of talent but because they aren’t in the public eye outside of the hip hop base). So I went through my external hard drive for anything with DJ and excitedly came back with DJ Skee’s American Godfather mashup.

2007 wasn’t just important for mixtapes it was important for Jay-z. American Gangster really is the dividing line between two eras. it is the last album by Dopeboy Jay. The album that followed was 2009’s Blueprint 3 which is underrated (in my opinion) but it is  Celebrity Jay on the mic.  His frame of reference was no longer what it was for Blueprint 1. American Gangster has three guest features while Blueprint 3 has TWELVE (Blueprint 1 had one guest and you know who it was). The Jay of 2007 was the same MC spawning new album versions of everything he dropped (example: Grey album & Red album variations of The Black Album) his bars albums charted with the best production and crazy videos at the height of the ROC rosters depth in terms of lyricists beat makers and raw corporate muscle but the mixtape circuit hungered for every written line. Verses felt like commandments.

American Godfather is the single greatest example of that time period in mixtapes. As a piece of classical music The Godfather soundtrack is perfect for incorporation into the hip hop sound. The horn section, the strings all move with a savy Italian grace that had to resemble nostalgia for an era long gone while conveying the shock and loss violence brings. That mournful whimsy in the orchestra sewn into the background adds even more majesty to Jay’s declarations to do it any way he can while taking in the savagery of the dealer landscape. It highlights what he misses by closing himself off emotionally. Since the original soundtrack tells the story of a good man becoming a calculating criminal leader the combination makes a lot of sense.

Listen to Pray go from pristine to gritty until the two mix. That song is a great example of what Skee brings to the table. Listen to the original Pray…he didn’t just weave in clips from The Godfather movie and sample the string section. The bassline on the American Godfather version of Pray is four times as strong.  He not only made it gorgeous with wind instruments but at the same time made it a dirtier head knocker and defiantly hip hop by dropping the beat in as savagely as he could. He made the song better.

The reverence for Jay that I referenced earlier is quite real on this mashup. The “every couplet could be a Tee Shirt” Jay-z pen game is so strong that Skee makes the decision to leave I Know absolutely naked. If you just listen to the story of it unfold in the specific detailed metaphors it signifies a real high point in the characterization within his writing. The only way to get you to focus on that is to rip the Neptunes signature sound out of the song and force you to follow the narrator;  leave you the reverberation of his voice saying “shoppin’s like coppin’ you constantly need it.” Jay is humane enough to paint tragedy onto every participant in the dealerscape because he has empathy for everyone involved. The game eats at him in ways other dealer-rappers never thought of. Jay is at his best when he is on a high level of physical real world details and emotional details at the same time.

Roc Boys being left nude for the world is even more off-putting. That song always functioned as the catchiest party song, the high point single reveling in the fun times of the dealer tale before the falling action.  By pulling out Diddy and the gang on production he leaves it ringing as a hollow moment of celebration that comes off more as a chant the main character is trying to believe but fears the finitude of.

Skee ripped the sample right out of Ignorant Shit and put guitars behind the Black Republicans beat (off Nas- Hip Hop Is Dead because mixtapes have no rules. Black Republicans is a better beat so bring it in.)  DJ Skee like Green Lantern and Don Cannon (Cannon’s redo of Drake’s first album is so much better than Drake’s first album. I didn’t even like Drake before I heard Cannon’s version) had a ceaseless desire to optimize every second of every song.  If you listen to American Godfather in the hopes of hearing everything in the Godfather soundtrack incorporated into Jay’s American Gangster album you messed up. He absolutely turns Success a thousand times better with The Godfather Waltz which binds the venomous distaste of Jay’s verse with the omniscience of Nas. The waltz creates an emotional spectrum that binds those very different emotional places but this isn’t a straight up slap together mixtape (which we see a lot of). Skee makes choices for the better of the project as if he were truly in charge with no red tape in front of him. As if the original album was raw material and he was The Dust Brothers on Paul’s Boutique freakin’ it however he saw fit.

Nino Rota couldn’t have imagined that the thickness and grandeur of his soundtrack would be clipped and repurposed in such a staggering way (even without the movie the soundtrack is an incredible listen). No one will ever convince me that a better version of Fallin’ exists than the one with Nino’s Sicilian Pastorale dialed into the beat making it sharper and meaner and more fun to listen to. It is so epic in the scale of its self-destruction. I think the beginning of The Godfather Finale is what was used for Sweet and it’s another great idea fully realized along with rearranging the order to place Sweet after Fallin’. American Godfather is born from a careful caring vision that guides it.

In 2007 when these kind of well worked visions were available for free I always wondered how many of these Livemixtape gems got to Jay. Did he hear The Billprint or American Godfather?  I never pondered if he would like them. I always hoped someone put it on for him so he could enjoy it. I knew he would love it and be proud of his influence on it.  Jay always thought about what his music would be like if he had been less commercial, he had more than a secret love for Kool G Rap and all the dark regions of hip hop far less flossy and flamboyant than he always was.  How incredible is it that his mark stretches so far people did their best work remaking his music? In my mind Hova hears the shifting going on in Blue Magic as the sample is incorporated and shakes his head like “that was the missing element,”  he heard the title track and got all scrunch faced, bobbing his head, taking nothing away from Just Blaze but DAMN those violins are sharp!

I am not one of these dudes who will write this paragraph about why Skee should have had a larger profile, gotten a bigger chance with bigger artists. Would Skee have given Ross some dope beats? Sure. Art is not sports. What you do is what you achieve; the Grammys is NOT the superbowl.  I love that hip hop has legend levels and if you’re on the bunny slopes you didn’t recognize WC holding the uzi in Friday. You’ve never heard Del Tha Funkee Homosapien rap about bad hygiene.  Whenever a popular rapper does a commercial someone says to me “Isn’t it terrible what they are doing to hip hop?!” and I smile.  That is the hot take from the bunny slopes and I get it. Consumerism has done a number on so much of our art and entertainment but not hip hop.  They don’t know how many levels we have that are protected by how much you care to know it, how much of your time you want to spend following it. Our firewalls can be cracked but pack a lunch.

To be clear this is not a mixtape of its time. It is not something you needed to have been there in the culture of its release to enjoy. This is something you could send to Danny Brown or Yachty or Uzi Vert and they would get it. They would bang their head like you will upon listening. The answer to “who did this?!” is in the same madman who played Ray Manzarek to Game’s post G-Unit Jim Morrison and gave him the canvas to paint all his malevolence on. He was there for Glasses Malone, Crooked I, Bishop Lamont and so many serious West Coast rappers best mixtape.  A solid gold first ballot mixtape hall of famer whose ad-lib created waves of relief for me and American Godfather is important to him. It would have had to be, to be done with this much care. To go seventeen tracks deep instead of a tight nine or ten. It’s careful in its construction and spiritually connected to the work of the original which is how it never seems weird that it is incorporating two movies into the world of a rap album.

I am not making the case that things were better in the era where mixtapes became more than freestyles. I never wanted to see the mixtape take the place of the album (I always liked the street clothes v. business clothes difference). I loved that mixtapes were a playground for everyone involved. Any idea that was off the marketable path, an image gamble, or outside the budget could be explored. Never anticipated that the label as we knew it would die and be washed away and the mixtape would be the only remaining path. The era of forced independence has made me look back on the formative content. Boy am I glad we built a second house before the first one washed out.

Stream or download American Godfather below:

https://www.datpiff.com/Jay-Z-DJ-Skees-American-Godfather-mixtape.9415.html

 

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Song of The Year-Keep The Devil Off by Big K.R.I.T. produced by Big K.R.I.T.

Song of The Year-Keep The Devil Off by Big K.R.I.T. produced by Big K.R.I.T.

by Dan-O

Wherever I have worked, anything I have achieved has been on the strength of who I am to the people around me…not management. I’ve never been able to convince anyone in power that I fit but the co-workers, customers, those I really touch hold me up on the strength of what I can do. This could be one of the reasons I’ve been so deeply invested in Big K.R.I.T. since I heard K.R.I.T. Wuz Here in 2010. He’s the people’s champ. When his first official album (Live From The Underground) came out he had a song featuring B.B. King with a video directed by Spike Lee and STILL couldn’t get mentioned in the company of his peers (some of whom he outpaced). In 2013 when A$AP Rocky put KRIT on 1 Train with Yelawolf, Danny Brown, Action Bronson, Joey Bad@$$, and Kendrick KRIT beat everyone off the track. No surprise to me, but the internet chattered briefly and then ignored it. KRIT didn’t fit their narrative and still doesn’t.

His new double album 4 Eva is A Mighty Long Time is deep at over eighty four minutes of music and thick with trunk rattling propulsive production(a lot of it handled by KRIT) but it’s also a lot of verse to take in. It isn’t conscious rap (he loves to floss and take down his opposition loves proper UGK s— talk) but it isn’t high end Ross-like luxury rap(Ross doesn’t even make that anymore) . If you like Southern rap b/c of the bouncy Migos chorus and strip club friendly content this doesn’t perfectly fit.

It is a double album that anticipates you will understand once you have taken the journey from Big K.R.I.T. to Bury Me In Gold and those of us who know do very much understand. For us 4 Eva is A Mighty Long Time is one of the year’s best albums and now that he’s independent he doesn’t have to explain himself to people who don’t get it. He can just breathe fire from his heart. That is what makes Keep The Devil Off so unmatched. This week I set it as my morning alarm and popped out of the sheets when he shouted “LORD be my witness!!” If you don’t care about how heartfelt his discussions of police brutality, infidelity,  & black identity are, if you just want to jam…I have a song that will sell you.

#Bandcampgold-Brick Body Kids Still Daydream by Open Mike Eagle

#Bandcampgold-Brick Body Kids Still Daydream by Open Mike Eagle

by Dan-O

I am so much more excited about BBKSD than my circle. Everyone likes it. People at this point have heard of Open Mike Eagle due to the breakout success of 2014’s Dark Comedy (and 2016’s huge improvement Hella Personal Film Festival). He is officially on the bubble of everyone who follows music and BBKSD shows yet another improvement. That is a good enough take but not from my angle.  If you follow the incredible X-Men references in the opening track (Legendary Iron Hood https://genius.com/Open-mike-eagle-legendary-iron-hood-lyrics ). The song is a perfect example of Mike pushing everything to the hilt. He’s always had great hooks and this time they are prettier, better sung, catchier (see Hymnal) the beats are full of strange sounds coming together over his buttery flow. His lyrics take comic imagery and push it 38 degrees to the left so that they become intensely meaningful.

On Happy Wasteland Day he is slick and smooth weaving zombie imagery and the connotation of dystopia into his everyday life “When the king is a garbage person/I might wanna lay down and die/Power down on my darkest urges/Keep my personal crown up high.”  As the song goes on his tone gets more and more urgent as the terror of everyday violence punctures the force field. The last verse his voice is post mortem, dead monotone and fading.  It is as much an emotional journey as Velvet Underground’s Heroin.

If you’re a strict rap guy who needs BARS just press play on Brick Body Complex which is a sensational set fire to the BS hook with dizzying skill from his pen in the verses “Chi Town in my building code/Stood here for ten million snows/wind chill is all in my bones/ Indivisible in divisible kids and criminals young and old/No radiator my dungeon cold.” That song sets my sensory on overload and it isn’t even my favorite.

I would change nothing on BBKSD but boy do I come back specifically to 95 Radios. Toy Light and Has-Lo created a beat that chimes a spotlight on the verses (Has-Lo destroys verse 1). Mike’s second verse teases fun growing up references but can’t run away from the hard thoughtful personal truth “I miss my old hood/ miss my homies/is lonely/ The radio host is like they know me.”  The pain isn’t just in the verse it’s in the delivery, the chorus drips with the visual image of a kid closing his eyes and trying to hear a rap song so he doesn’t have to think so damn much.

When I was in school (trying to become a better writer) teachers routinely told me to ignore what I did well and focus on improving my faults. As a natural antagonist the first thing I did was push even harder on my strengths leaving the rest for later. Sometimes if I pushed hard enough I could accomplish something really surprising and that was the best feeling. Brick Body Kids Still Daydream gives me that feeling for Mike. No one gets to show him his lane.

Bandcamp link below:

https://openmikeeagle360.bandcamp.com/album/brick-body-kids-still-daydream

Album review-Drive by Shane Reis & Clarkwork

Album review-Drive by Shane Reis & Clarkwork

by Dan-O

Every time I map a limitation onto Shane Reis he bursts through it. In Maine, the hip hop scene is full of people who are what they are and will be what they are, going forward. You can pick up their new album and if you liked what they did before you’ll recognize all the pieces still there. Shane is the one changing most rapidly. 2013 Shane (from my perspective) was a glue guy; the kind of player who comes off the bench with a ton of energy and grabs every rebound with his whole soul. That effort and energy brings out the best in everyone on the court and the game gets better. On the feature heavy Reis & Shine he approaches every beat with confidence and passion.  2015 Shane was starting to snarl and expand his perspective. He said “Don’t associate me with these schmoes they ain’t me(Here).” He meant it.  On the collaboration project with Essence (now under her name: Sarah Violette) they sought out Rhode Island producer Clark Work and sent a message. The beats everyone is handing around aren’t good enough.

The Clark Work/ Shane Reis 2017 collaboration Drive marks a huge step forward in the relationship between these two forces. Clarkwork drives me crazy. He really enjoys experimenting with sounds and at times in his beats everything drops out for a second, pausing your vicious head nod, and then it resumes full force. He creates a rhythm out of jerky stops and starts and never lets you just lull into a trance. Weird pays off because a lot of Maine hip hop production bends backwards to pay tribute to the foundational sounds: Jazzy like Premo or Pete Rock, reminiscent of Black Moon boom bap but Drive is happening now.

1000 MPH is perfect Clarkwork as central sounds twist jerk, stop, repeat and create a melody for themselves. Shane flexes his mission statement of bullish determination to succeed. The same work ethic that pushed him this far can see the growth and is now pushing that much harder. On HadAboutEnuff Reis tightens and loosens his flow with captivating dexterity over a lean simple nasty beat from Clarkwork.

The title track is absolute magic. Clarkwork starts it with weird background chanting and waits twenty eight seconds to drop the beat with Shane attaching the hook to its introduction. Shane is affiliated with everyone important in the local hip hop scene but loosely. His flow fits anywhere at this point and the weirder Clarkwork gets the more locked in Shane is. He demolishes every second he speaks on Drive.  His confidence and will power compliment the delicate lyrical balancing Sarah Violette does extraordinarily well on SMH and No More. On No More especially their voices join for a chorus that will stick directly in your head.

As undeniably dope as the title track is my favorite song is IDKWhatLoveIs. I’ve heard it a thousand times already and keep pressing play. I keep hearing sonic elements happening behind the piano, as if every Clarkwork beat is Narnia or Wonderland and you can just keep traveling into it and finding more madness. Shane is not a singer but somehow he makes the crooning work like he makes everything he does work. His written perspective on the song is a balance of confessional and appreciative. He readily serves up examples of not really being good at relationships, wondering if he is worth the trouble for his partner, at the same time being hopeful he can figure it out and thankful for the life he has.

Maine as musical scene is full of frustration and negative energy. Even the most successful entities wonder about the consistency of the audience, what they support and why….but Shane seems to turn all hostility into fuel. In rooms full of hopeless artists Shane can see the next steps and works tirelessly to achieve artistic goals in his music no one predicted but him. Drive isn’t a local album at all. It can sit next to any national release. Eight examples of the different directions these two are capable of together. How fitting that the last song is called NeverEndingGreenLight.

You can hear Drive on Apple Music, Amazon, Spotify or any other streaming service or you can buy it like I did.

#Bandcampgold= Jidenna-The Chief

Bandcampgold=Jidenna-The Chief

by Dan-O

The Netflix series Luke Cage did a fantastic job maximizing the musical environment it presented. One of the show stopping performances was Jidenna who absolutely tore it down. My wife looked at me and said “That guy is GOOD.” All I could do was shrug. I don’t listen to the radio at all so I had heard Classic Man once and moved on. I had no reference point for dude but I stored that moment in my head and when his new album The Chief dropped it was at the top of my list to check out.

The Chief is not a cohesive album. This is not a walk through a specific story that gets you to know the narrator. This is the flexing your muscles album (less Good Kid Maad City more Section 80). Everything about it feels different. If I say that this is one of those threats that can sing and rap you’ll rightly say…that’s a lot of people. The difference is this dude is the son of a Nigerian scientist, his knowledge of African sonic textures gives him a totally different base he sings from. Adaora moves like Salsa but maintains the precious emotional center a Nat King Cole song has.

The unignorably brilliant stuff begins going through tracks two, three, and four. Two is called Chief Don’t Run and features Roman GianArthur on the hook. It is a straight ahead rap banger with punch lines to spare. The beat absolutely tramples and then it leads into the biggest pop hit on the album. Trampoline you’ll never get out of your head and the rewarding thing about it is that it takes the shape of a traditional slut shaming anthem while being the absolute opposite.  Example, “Anyone who works hard as you got the right to get lit. She might even have a wedding ring or a doctorate in medicine or the daughter of the reverend or the daughter of the president!(Trampoline)” Usually, banging pop anthems about women are condescending at their best but Jidenna doesn’t function like other people and definitely doesn’t care for expectations. Trampoline would easily be the best song on The Chief if Bambi didn’t come next. I can’t stop listening to it. My only reference point was Harry Belafonte calypso but my wife says that’s not right. She says the only thing she’s ever heard that reminds her of Bambi is The Lion Sleeps Tonight. The difference is this song is actually full on engaged in a discussion about relationships and loneliness.

Jidenna is very cool. He dresses cool, makes money and intellectually defends all of it with very cool one liners. The last two songs on the album (White Nigga & Bully of The Earth) are very intelligent without ever dipping into pretention. Underneath the sleekness The Chief definitely talks about how detached he gets from traditional relationships and the defenses he puts up against people who get too close. A lot of people who listen will likely never even engage The Chief on that level because of its snazzy wrapping paper. Jidenna doesn’t mind. This time around he wants you to know he can hit homeruns with or without Janelle Monae. Point made.

Stream or pay for this great album below:

https://jidennanow.bandcamp.com/album/the-chief

#SpotifyTidalAppleMusicgold-Songs.4.People.Who.Break.Promises by Niko Is

#SpotifyTidalAppleMusicgold-Songs.4.People.Who.Break.Promises by Niko Is

by Dan-O

As dominant as the genre is, it suffers. Post- Kid Cudi it shifted from being a musical form crafted by hustlers and drug dealers to drug addicts going through the crash/rebirth cycle. It reignited things for a while(giving a different perspective) but these aren’t cocaine addicts shouting and twitching this is an era of depressants, codeine in your cup. The music is slow and sleepy and melodic; full of tearful confession thinly masked by anger. It gets old.

On the positive side that dominance is in no small part due to the embrace of weirdness. The thriving oddity of “internet rappers” with funny hair, tight pants and all sorts of nonsensical cadences.   The previous generation was all straight faces and similar brags, a tightly wound culture ready to bust loose.

Niko Is comes armed against the former and abundantly engaged in the latter. He’s been weird since the beginning, certainly on drugs but more inclined towards mushrooms and hallucinations than the slow personal misery of purple (just my reading of the situation through lyrics, I do not know this dude).

On that journey from Brazil to Florida he also seems to have digested loads of Gangstarr, Das Efx, Redman, etc. Even as he dropped a surprise album that begs “You want weird, I’ll give you weird?!” he sets aside a lot of time to whip out his samurai sword flow and clear the area of all living things (example: The Land of Leche &Miel).

Songs.4.People.Who.Break.Promises seems on a mission to shatter the storyline of the typical rap song. My favorite song is Houdini where the chorus comes earlier than you think and bookends with Niko hitting the melody perfectly as it melts into a soul sample.

Niko has a perfect collaborator in Thanks Joey (Joey Creates) who shares a deep love for Brazilian Soul and soul in general while never ever sacrificing the fist-thumping BOOM that impressive basslines and drums give a hip hop song. Just listen to Mundo; where Niko name checks Jeet Kune Do, raps a bit in Spanish, and it really doesn’t matter if you are understanding everything. The bassline is amazing and Niko throws his voice everywhere, delivering every line like it is the all-important last one. It’s because of Joey that this music feels warm and tropical and as weird as Niko makes things it is always stabilized by the lush landscapes he stands in front of. You feel the sun on your face and can almost see the palm trees, all before you realize he just said “The Batman of rap, I need a four foot Asian to tap dance on my back, cause I’m stressed out(Morena).”

Niko has always had a wandering mind; surreal, humorous, sick, and violent. Lyrically I always thought of him as everything you think about… unedited. Niko Is leaning more towards personal and poignant this time around. Leave Another Day is a real front to back story infused with the frustrations of losing a romantic relationship. He laments them being good on paper but not in the present and it’s no joke. The song is actually pretty spooky.

Songs.4.People.Who.Broke.Promises is a marvelous showcase of the experimentation you can indulge in when you prize your fluidity. After all, this is a dude who shined bright right alongside Action Bronson before he was a cooking show star. Even though Niko & the gang stylistically aim to surprise you, they always manage to do it.

Songs.4.People.Who.Break.Promises

apple link:

https://itunes.apple.com/us/album/songs.4.people.who.break.promises/id1136381680

Spotify link:

Tidal store link:

http://tidal.com/us/store/album/63227145

They call these things mixtapes but we have to pay for them?

They call these things mixtapes but we have to pay for them?

by Dan-O

Whenever people look at me and say the mixtape doesn’t exist anymore; no difference exists between albums and mixtapes…I have to look at them confused. What do you mean? I know it’s an album because I paid for the thing. This all changed a while ago and now Kendrick Lamar calls my favorite album he ever released a mixtape (Section 80) so I’m forced to roll with this (respecting the artists wishes). A lot of these non-mixtape mixtapes have dropped recently and I wanted to give a quick update on two important projects you need to check out. These are on ITunes and the second is on Amazon for digital purchase.

Erykah Badu-But U Caint Use My Phone

I have had my fair share of Badu-ruining-great-rappers conversations and while it is fun to believe in (like magic or the Electoral College) it is also entirely irrelevant. If Common puts out a bad album I’m not going to act like he was under someone’s spell (I wish I could for UMC) but more importantly Badu has an incredible career of her own. She creates deeply lyrical masterpieces like Mama’s Gun or chant heavy hooky albums like New Amerykah Part One and both kinds work for her. But U Caint Use My Phone is her doing it again, and while most will come for the stellar remake of Hotline Bling (called Cel U Lar Device) or the breathtaking collaboration with Andre 3000 (called Hello) this has a lot of top tier Badu. Phone Down might be my favorite song on the project because somehow without declaring itself vividly sexual the song overflows with it. She sounds assured and calm, so confident in who she is she doesn’t need to shout just give a gentle warning and she has your attention. She not only promises that she can make you put your phone down but have you so bamboozled in her you won’t know how to unlock it.

Yes it’s deeply intelligent in its handling of our communication in the modern age; the separation our constant cell phone use creates between lovers, friends and family but more important than that Erykah Badu is still dope in a year where Missy Elliott and Janet Jackson have proved the same.  So it may cost you money to pick this up but you will be supporting one of the really unique voices in the hip hop universe.

 

Alex Wiley-Village Party 2: Heaven’s Gate

I listened to Village Party everywhere. I don’t mind saying it. I spent all of last year listening to it but never reviewed it. The mixtape just seemed too impossibly atmospheric and different to properly describe. Alex Wiley destroys the wall between bars and hooks and just sways from word to word swimming in the beat. Listening to Alex Wiley is being delightfully inebriated and I’m clearly not the only one loving the experience. When Twista spits hot fire on Japanese he’s audibly taken with the vibe. It’s all vibe and it’s all different, how comforting must that be for an artist who suffered long in hip hop’s underappreciated tier because of how different his music was? Chance the Rapper doesn’t stick out at all on Navigator Truck, this is Wiley’s world and all the offbeat vocalists live here in harmony.

I am in no way saying that Wiley gets over on his chant/singing. If you listen to Play you will find yourself in observance of his slinky style reggae flow where he pounds words one after another until he slows down fading into the bass and the playing children just to emerge dropping bars feverishly. As much as I love to hear any gifted lyricist declare themselves by the force of their lyrics songs like Residual Effects (Shout out to Hippie Sabotage who do GREAT work on Village Party 2) are as hypnotic as those old Cypress Hill weed love songs.

Village Party 2 does what the first did, it takes me out of the world for as long as it’s playing and it probably does a better job than its predecessor. I’ll be honest; I had no qualms paying for this one.