J-Live - "The Best Part"

“The Best Part”, the debuted album by the ultra-talented J-Live was released in 2001 on Triple Threat Productions.  Originally slated to be released in 1999, due to difficulties with various labels wasn’t released until a couple of years later. J-Live gained some early buzz after appearing on the Stretch and Bobbito show and with his single “Braggin’ Writes.”  He parlayed that buzz into lining up a superstar cast of producers for his album, including Prince Paul, Pete Rock and DJ Premier. J-Live, a true triple threat (Rapper, DJ and Producer) actually did all the cuts on the album other than the title track which was handled by DJ Premier. If you ever seen J-Live in concert than you’ve probably seen him do his thing rapping while holding down the tables simultaneously. “The Best Part” is a return the essence of Hip Hop music.

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Chris: I wanted to review J-Live’s “The Best Part” because it was an album that I was really fond of when I found the bootleg on AudioGalaxy back in the day. As you reminded me, it was recorded between 1996 and 1999 but wasn’t officially released until 2001. Although its official release was delayed, it sounded a lot like the other “underground”, ‘backpacker” shit that was popular around that time. What do you remember of hearing J-Live and “The Best Part” for the first time?

Mike: Discovering this album happened pretty randomly for me. A friend gave me “The Best Part” swearing I would dig it. I knew nothing regarding J-Live’s come up, crew or affiliated artists but one glance at the producer credits and I was down to give it a go. By the way, the OG album cover was way cooler.

Chris: Yes! Love the play off of NBA Live

Chris: Kind of cool, the assortment of producers that contributed to this project. 88-Keys, Grap Luva, Prince Paul, DJ Spinna, Pete Rete and DJ Premier. How do you feel like the album flows? Do you have a preference between albums with several different producers or an entire album with a single producer? I like the tracks that Grap Luva produced, I’d like to hear what they could come up with for an entire album. Did you know that other than the title track, J-Live did all the cuts himself?

Mike: Considering the cast of producers J-Live utilized, the album flows seamlessly. J-Live picked timeless producers that gave him a backdrop to lay down his raps and it gives “The Best Part” a cohesiveness that’s close to as if it was produced by a single producer.

I would prefer to work with a cast of producers in the same vein, working toward the same sound as opposed to picking a single producer. The multi-producers give “The Best Part” a wider dexterity and textures that breaks up the monotony of J-Live’s sometimes forgettable flows.

I definitely see the potential of J-Live working exclusively with Grap Luva, as I feel “Them That’s Not” is a standout track.

J-Live – “Them That’s Not” (Produced by Grap Luva)

Chris: Interesting. I kind of enjoy J-Live as a lyricist. Not overly complicated but he’s a decent storyteller, has nice battle raps, there is social commentary and I dig his metaphors on songs like “Wax Paper”

J-Live – “Wax Paper” (Produced by Prince Paul)

Mike:  What you appreciate about J-Live’s content is probably my main beef with his approach to penning songs.  Seems like a generic tradeoff of all the staples of traditional Hip Hop content, but not stamped with a distinguishing identity. I don’t feel like I know much about J-Live after playing “The Best Part” in its entirety.

I have a question for you. If someone asked you to describe J-Live’s music, what would your response be?

Chris: I’d describe it as laid back and mindful.

In November of 1995, J-Live appeared in The Source as their “Unsigned Hype” for that issue. This question is slightly off topic but how important was The Source for you as a medium for expanding your knowledge and interest in Hip Hop music? Not that they were all that hard but I used to finish those crossword puzzles in one sitting.

Mike:  The Source had a miniature influence on my album choices. I mainly looked at the mag for Chino BYIs (whatup CHINO, whats up with your Knicks?” “Graff Fix” section.

Chris: Did you have any favorite tracks?

Mike: The legends involved came through and lent their signature sounds, which are the brightest moments on the album. Prince Paul’s “Wax Paper”, Pete Rock’s “Kick It to the Beat”, and Premier’s title track, all left a very Hip Hop classic vibe.

Chris: Yes, “Kick It to the Beat” with that cool Harvey Mandel sample!

J-Live feat. Probe.dms and Asheru – “Kick It to the Beat” (Produced by Pete Rock)

Harvey Mandel – “Baby Batter”

Chris: How do you feel about “The Best Part” now verses how you felt about it back you first heard it?

Mike: I don’t want to sound like a negative Nancy as far as this joint goes but truthfully it isn’t an album I yearn to bump currently. The All-Star production line up doesn’t save an otherwise forgettable rapper. The best part of “The Best Part” is when the album ends.

Chris: I wouldn’t go that far but aside from a couple of tracks, “The Best Part’s” value really didn’t hold up for me either. Still think it's pretty good.

Chi-Ali - "The Fabulous Chi-Ali"

“The Fabulous Chi-Ali,” the only studio release by teenage (15 years old at the time of the release) rapper Chi-Ali. Hailing from the Bronx, Chi-Ali was “discovered” by music executive Chris Lighty. Chi-Ali was actually the first artist signed to Lighty’s record label Violator. Lighty was also facilitated Chi-Ali becoming an affiliate of the Native Tongues. The album was released in March of 1992 on Violator/Relativity Records. The bulk of the production on the album was done by The Beatnuts (also a Native Tongue affiliate) with some help from Lighty and Mr. Lawnge from Black Sheep. Chi-Ali youthful voice is in direct opposition to the “grown up” subject matter of his lyrics, but combined with the solid production from the Beatnuts, “The Fabulous Chi-Ali” is a good listen.

Chi Ali – Yo MTV Raps Promo

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Chris: Mike, do you remember the first time you heard the name Chi Ali and why did you want to revisit “The Fabulous Chi-Ali’?

Mike: I first listened to “The Fabulous Chi-Ali” about 10 years after its 1992 release. As I was getting more divulged into Golden Age Hip Hop, the more Chi-Ali’s name popped up. Be it on Black Sheep’s album, other rappers utilizing his name in their rhymes, or even subtle shout outs in the liner notes, I knew it was an album I wanted to hear.

My wanting to review this album stems from its unique point of view that wouldn’t even be considered commercially viable this day in age. A barely teenage rapper speaking on street dynamics, weed and women, in a very straightforward format.

Chris:  The first time I heard this album was when our friend Justin bought it from the Tower Records in Tempe. I knew the name but hadn’t heard anything from Chi-Ali outside of “Ain’t Nuthin But a #” and “Pass the 40”.

It seems to me though that the early 90s was kind of the beginning of the teenage rapper and that trend still continues today. Who are some of your other favorite teenage or younger rappers? The first ones that come to mind for me are Shyheim and DaYoungstas.

Mike: I’m gonna go with the obvious choice, Shyheim. He had the knack for penning a song as opposed to just lyrics, which is Chi-Ali’s downfall at points during “The Fabulous...”. The Wu’s tutelage of Shyheim shows through his more poetic, abstract lyrics, whereas Chi-Ali’s face value approach doesn’t necessarily reflect his Native Tongues affiliation.

Chris: So let’s expand a little more on Chi-Ali’s lyrical content and his delivery. You said you didn’t think it would be commercially viable nowadays, why is that? Looking back, Jermaine Dupri wrote the handbook on creating the commercially viable youngster rapper, first with Kris Kross and then later on with Bow Wow.

I feel like Chi-Ali is a product of the era of Hip Hop he grew up listening to, the braggadocios era of the late 80s, we just weren’t used to hearing some 13-14 year old say those things. I had also read that The Beatnuts and members from A Tribe Called Quest helped him craft his style.

Mike: Well Kris Kross and Bow Wow were tailor made to appeal to certain demographic, not just with their music but their clothes as well. Chi-Ali’s presence seemed to be pretty much himself, for better or for worse. While certain aspects of this approach led to unfiltered, raw, no holds barred content, others felt sonically it was held back due to a lack of maturity. Personally, I think the niche Chi Ali attempted to carve no longer exists.

Chris: Did it seem to you like Chi-Ali’s voice was kind of tired on some of the songs? Could just been the recording technology of the time but it felt like his voice wasn’t strong enough. He sounds much better on some of the remixes that came out a year or two after the release of the album.

Mike: You couldn’t have phrased it any better, regarding Chi-Ali’s voice and the Beatnuts monotony on the boards. Slip a few tracks from “The Fabulous…” into an upbeat playlist and they will stand out as funky and playful, bump it in its entirety and you’ll be yearning for musical dexterity that this album just doesn’t deliver.

Chris: As you know, the Native Tongues affiliate The Beatnuts handled the bulk of the beats on this album. Mr. Lawnge from Black Sheep did “Ain’t Nuthin but a #”. How did you feel about the production overall?

Mike: At times, I felt like I expected too much from this album. Being that I was brought up by the Native Tongues, DITC, Showbiz and AG. I think it has the ingredients to be a classic, but it just wasn’t cooked right. The Beatnuts hadn’t yet developed into their sample heavy sound unto the soundscapes they laid down in the years after, but what they offered was nonetheless an undeniably fresh boom bap backdrop for Chi-Ali.

Chris: I REALLY enjoyed the production on this album. Like you alluded to, the Beatnuts were still perfecting their craft but I really enjoyed the grittiness of the album and the samples they used.

What was your favorite track?  Mine was “In My Room”. It all comes together on that track. It’s just really smooth and the Bar-Kays’ sample they use is really dope!

Chi-Ali – “In My Room”

Bar-Kays – “Fighting Fire with Fire”

Mike: “Funky Lemonade” to me has all the elements of an upbeat early 90s party track. Chi Ali bounces off the funky beat flawlessly. Add the Guru sample and you have a straight up, era specific hype jam!

Chi-Ali – “Funky Lemonade” (Original)

Chi-Ali – “Funky Lemonade" (Beatnuts Remix)

Chris: How do you feel about the album now? I honestly have a new appreciation for it, I am pretty nostalgic and I really enjoyed the rawness and the warmness of the album.

Mike: I like it more than ever. When viewed as the debut from a Native Tongues member, the expectation is unrealistically high. However, when listened to with an unexpecting ear, it deliverers a raw rap record with undeniable gems sprinkled throughout.

All in all, listen to “The Fabulous Chi-Ali”, you won’t regret it.

Common - "Like Water For Chocolate"

Common’s fourth studio album, “Like Water For Chocolate”, was released on March 28, 2000 on MCA records. By the time production of “Like Water For Chocolate” had begun, Common had left his hometown of Chicago and was living in New York City where he linked up with Questlove and other members of the Soulquarians.  The Soulquarians were a music collective featuring Hip Hop artists (Talib Kweli, Mos Def, Common, Q-Tip and Jay Dee), Soul singers (D’Angelo, Erykah Badu and Bilal) and a few other talented musicians (Roy Hargrove, James Poyser and Questlove). “Like Water For Chocolate” served as the formal introduction of the Soulquarians as a production team. “Like Water For Chocolate” spans across Hip Hop, Soul, Funk, Blues and Fela-esque rhythms.  Common flips back and forth between conscious and enlightened and braggadocios and perpetrating the stereotype.  He even has a skit and a song where he jokes about the juxtaposition. “Like Water For Chocolate” may not be Common’s best work but it was well received and definitely served as a turning point in his career.

Guest request Sean's (@bort_sampson_) 3rd review

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Chris: Why did you want to review “Like Water For Chocolate”?

Sean: I wanted to review it because quite frankly, I hadn’t listened to in a while and was wondering if it was as good as I remembered it. It also was released during a pretty influential period of my music life, along with other albums like Blackstar, “Black on Both Sides”, “Hi-Teknology”, stuff like that. Not that they all released around the same time as each other, more that I really discovered a lot of them around the same time.

Chris: I thought it was kind of funny that you chose “Like Water for Chocolate” because I recently within the last couple of weeks read Laura Esquivel’s book by the same name and although I was aware of the book, I had always thought the title  “Like Water For Chocolate” was harkening back to Jim Crow laws and I still do but I wasn’t aware of the double-meaning. Common is comparing himself to Tita (the main character in the book) whose emotions were key ingredients in the food she made.

Sean: Can’t say I ever read the book but I see the connection – the main character poured out her emotion in the food, Common poured his emotion into his music. Especially as related to this relationship at the time with Erykah Badu.

Chris: Obviously “Like Water For Chocolate” has a different feel to it than his other releases up to this point in his career, what did you think of the production on this album?

Sean: It’s weird, because I was simultaneously feeling this album as much as I used to and not as much. The production was tight for the most part but sometimes I felt like there was a bit of a disconnect between it and Common’s flow. I think maybe it maybe it has more to do with his flow by itself. He just has a lot of hard pauses and it sounds a little jerky to me and I found myself kinda getting taken out of the music, if that makes sense. I didn’t realize that J Dilla produced 75% of the album. I still love that Bobby Caldwell sample.

Chris: I’m thinking the jerkiness you’re describing was the influence of Dilla. That is very much a Dilla/Slum Village quality. I remember around this time my appreciation for Jay Dee was at a fever. I loved the soulfulness of this album. I feel like it’s a foundational album for a lot of other albums with that sound that came out around this time.  This album propelled me into listen to a lot of more that Philly Soul/Neo-Soul for next 4 or 5 years or so. I still listen to D’Angelo, Erkyah Badu, Goapele, Bilal, Angie Stone, Jill Scott, Musiq Soulchild, Ledisi, Kindred the Family Soul and Lina because of this album’s influence on me.

Common feat. Black Thought and Rahzel – “Cold Blooded”

Chris: Let’s talk about “The Light”. Jay Dee’s flip of Bobby Caldwell’s “Open Your Eyes” was the perfect complement to Common’s ode to Erykah Badu. I think that “The Light” is the definitive Hip Hop love song of our generation. What are your thoughts on “The Light”?

Sean: It holds up perfectly, in my opinion. It what I would think of if I had to pick a perfect example of a Common track – very thoughtful with a clear message.

Common – “The Light”

Bobby Caldwell – “Open Your Eyes”

What is the standout track or tracks for you?

Chris: There are so many! It’s very difficult to narrow it down to or even a couple but if I had to, maybe “Thelonious” and “Funky For You”. I just love the vibe of both of those songs. You? “Sixth Sense”?

Sean: “Sixth Sense” and probably “Heat” or “Questions”. It’s funny that I gravitate towards the lone Primo track on the album. His stuff has always gotten to me.

Common – “Sixth Sense” (produced by DJ Premier)

Chris: When The “Like Water For Chocolate” Tour came through Albuquerque in November of 2000, that was actually my first ever concert and still to this day one of my favorite concerts ever. You were there! Do you have any memories from that show?

Sean: When he came out in the red Adidas track suit and started break dancing! That was amazing and completely unexpected! You?

Chris: For sure that was dope! I think just the live band and how awesome they were.

Sean: Yeah, a live band just brings a different energy and depth to performance.

Chris: How do you feel about “Like Water For Chocolate” now after re-listening to it for this review?

Sean: I enjoyed it but it probably not something I’ll listen to regularly. It’s not “Black on Both Sides” for me lol

Chris: I like it just as much, no more, no less.