Freestyle Fellowship - “Innercity Griots”

“Innercity Griots” was released on April 28, 1993 on 4th and Broadway Record, which is probably best known as being the label home of Eric B. & Rakim. “Innercity Griots” is the second studio album by the group Freestyle Fellowship, out of South Los Angeles.  The group members include Aceyalone, Myka 9, P.E.A.C.E. and Self Jupiter, all whom met in high school. During a time where Jazz’s influence was very prominent in Hip Hop, Freestyle Fellowship embodied the Avant-garde element of Jazz. The used their voices as instruments and t’s like you can hear them reacting to each other the way some Jazz players would while playing live. The album was produced primarily by the Earthquake Brothers and featured a lot of live instrumentation, adding to the uniqueness that is this album.

Guest review with Marissa (@champagnemari_)

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Chris: “Innercity Griots” dropped in 1993 but to be honestly with you, I didn’t become familiar with Freestyle Fellowship and Project Blowed until 2000. I had befriended this dude and I can’t even remember where I even met him, the only thing I can remember is his AIM screen name, but anyway, he put me on to a lot of great Hip Hop that I had never heard before. He had a lot of dope shit on his AudioGalaxy. Haha I just realized that you probably have no idea what AudioGalaxy is or probably not even Napster, LimeWire, SoulSeek, BearShare or Kazaa. I’m big on supporting the artists but I would have never known about some of these acts if it weren’t for these peer sharing services and the people I met on there, so I am thankful.  So I’m curious about you though, what are your sources for finding good music? Before peer sharing and stream services, we had to listen to a lot of bad shit to have something good, can you image a time like that?

Marissa: In all honesty, it’s been rough trying to find good music lately and I do feel like I’ve been forced to listen to bad music just to find a song. I’ve been in this phase where I’ve listening to more nostalgic music and being more appreciative of the music. But when I do find good music, it’s either from my cousins/friends sharing with me or by putting on a random Spotify playlist that matched the vibe of music I was wanting to listen to at that time. I remember in high school we used to all sit at the computer in DECA class and would watch different music videos, sharing music with each other. 

Chris: Normally the format of these reviews is that the guest will choose the album for us to review but you asked me to choose, so I wanted to first, find something that you probably hadn’t heard before and second, something that best represents what I enjoy most about Hip Hop. I chose “Innercity Griots” because I remember how I felt when I first listened to it and that it is that is blew my mind. There was so much on it, which we’ll delve more into in the rest of review, but also, it’s just a fun album to listen to. It has a good energy to it. Had you heard of Freestyle Fellowship before this review and can you describe how listening to “Innercity Griots” made you feel?

Marissa: I don’t think I’ve ever heard of Freestyle Fellowship before this review. This was my first time listening to the group and “Innercity Griots” and I can say this was a very interesting, but cool album. Freestyle Fellowship reminded me of Wu-Tang mixed with The Pharcyde. The album made me feel like I was at an underground club in the middle of the Bronx, NYC. Haha I definitely agree this album was fun to listen to. So many different vibes in each track. 

Chris: Hey! I really dig that comparison, a mix between Wu-Tang and The Pharcyde. The Pharcyde is actually from the same area as Freestyle Fellowship and they both came up performing at open mic nights at this place called Good Life Café. There is this really cool documentary about it called “This is the Life” that you should check out.  

 

Chris: One of my favorite aspects of this album is the harmonizing. In particular, on songs like “Hot Potato”. For me, it’s an ode to the old school Hip Hop that I grew up listening to, like the Cold Crush Brothers or Fantastic Five. Listening to it now, really brings up some nostalgia, so I really appreciate it on that level. Were you a fan of the tracks that featured harmonizing?

Marissa: The harmonizing gave the tracks some pizzaz along with the Jazz vibe it had going on. I’m fan of the harmonizing on the track “Mary”. I thought the track’s harmonizing matched up to what the track was actually about. I felt like on was floating on a cloud while listening to the track. Even on “Park Bench People”, it really lived up to the harmonizing and Jazz. I really enjoyed the harmonizing of the saxophone in the background.

Freestyle Fellowship – “Hot Potato”

 

Cold Crush Brothers – “Live @ Harlem World 1981”

 

 Chris: The Freestyle Fellowship really embraces the spirit of Jazz music on this album. The album actually features a lot of live instrumentation with the band doing to improvisations on some Jazz classics. A track I liked was “Inner City Boundaries” and what I liked about it is how the band lays back and the guys just kind of freestyle and do different things with their voices. To me, it’s very reminiscent of Avant-garde Jazz and the guys’ voices are like horns being played and they’re just going for it. And I have to say, I think it was kind of cool listening to this album after watching “Soul”. How did you feel about the Jazz that this album brought? Could you see yourself listen to more Jazz after listening to this album?

Marissa: I totally agree with you about “Inner City Boundaries”, I really enjoyed this track and it reminded me of “Soul”, as well as “Way Cool”. I think it’s so cool when Hip Hop tracks include Jazz, since Jazz played a big role in the creation of Hip-Hop in the first place. Whenever I study, I listen to Jazz rap or JazzHop, I’m not sure if you’ve heard the genre or not, but I think it’s a nice genre to listen to if you like Lofi Hip-Hop and smooth Jazz. 

Chris: I have heard of those as genres and I’m as fan as well. Funny story, Ella is into LoFi beats as well and she was telling me about a producer she likes and she was pronouncing LoFi as “Low Fee”. Made me smile.

My indoctrination into Jazz music and pretty much every other genre of music was through Hip Hop. Listening to Gang Starr, Ultramagnetic, Digable Planets, A Tribe Called Quest, De La Soul, D.I.T.C., Pete Rock & CL Smooth, Boot Camp, Madlib and so many more were my jump off point for a love of Jazz music. I’m glad to hear that you have a love for it as well.

Freestyle Fellowship – “Way Cool”

 

Kool & the Gang – “Love the Life You Live”

 

 Chris: Did you have any favorite tracks from the album?

Marissa: My favorite tracks from this album are “Respect Due” and “Inner City Boundaries”. I branched out and listened to other songs by Freestyle Fellowship. I like “Sunshine Men” from the “To Whom It May Concern…” album. 

Chris: All great songs! My favorite is “Cornbread”. It’s a hype song from the start with the drums from “I Ain’t No Joke” and the lyrical content is really nonsensical but presented in a really fun way. It’s like what you’d hope your drunk cyphers at a party sound like.

Freestyle Fellowship – “Inner City Boundaries”

 

 Freestyle Fellowship – “Cornbread”

 

 Chris:  Something that stood out to me while listening to the album again was how much at time they sounded like other artists I’m familiar with. It was really trippy on songs like “Mary” where it sounds like Krayzie Bone from Bone Thugs N Harmony is rapping or when I listen to “Bullies on the Block” I hear Nice & Smooth and Chubb Rock, on “Heavyweights” I hear Sticky Fingerz from Oynx, on “Everything is Everything” I hear Lords of the New School and on “Way Cool” I hear Gravediggaz. Did you catch any of those?

Marissa: Yes! When I heard “Mary”, I thought Krayzie Bone was on the track as a feature. When I was listening to “Bullies on the Block”, there was a verse that sounded very similar to the hook on “Batter Up” by Nelly. I thought that was kind of cool because Nelly was a big part of my childhood from spending time with Auntie Sonya haha. 

Freestyle Fellowship – “Mary”

 

Chris: A griot is “a member of a class of traveling poets, musicians and storytellers who maintain a tradition of oral history in part of West Africa”. After looking at that, the title of the album seemed perfect. I felt like the traditions of Jazz and Hip Hop are well maintained on this album, especially on songs like “Respect Dues” which features some classic Hip Hop breaks like “Hihache”, “Pot Belly” and “Big Beat”. Do the Freestyle Fellowship does a good job of maintaining the tradition of what you see as Hip Hop music?

Marissa: For me, I did hear a sample of songs I grew up listening to from my Mom, older cousins, and uncles. For example, I did hear “It’s a Musical” by Bootsy on “Bullies of the Block” and one Earth, Wind and Fire interlude on “Respect Dues”, if I’m not mistaken. Also, on “Way Cool”, I did hear a sample of Kool and the Gang’s “Love the Life You Live”. I find it very cool to see rap groups sampling classic bands and their music I grew up listening to. To answer your question, I do believe Freestyle Fellowship does a great job of maintaining the tradition of what I see as Hip Hop. Hip Hop began with Jazz then to DJs and MCs simply, the evolution of Hip Hop. 

Chris: Wow! I’m impressed!

Freestyle Fellowship – “Respect Due”

 

Lou Donaldson – “Pot Belly”

 

Chris: Thank you so much for doing this review with me. As your older cousin, I have admired your taste in music and I had really been hoping to do a review with you! Thank you! Do you have any final thoughts on the album? Has it inspired to check any of their other projects?

Marissa: Thank you for inviting me to do this review. It was truly an honor. My music taste wouldn’t be anything if it wasn’t for you, Bristol and Des. My final thoughts on the album was I really enjoyed the Jazz aspect of the album. It inspired me to check out more of their music, like “To Whom it May Concern…” and other related groups’ projects, like Gang Starr. Thank you again for giving me the opportunity to review some music! 

Chris: Of course! We’ll definitely do it again! For me, “Innercity Griots” definitely stood the test of time and I have a much deeper appreciation for what they did now than what I had before. It’s a really good album, in my opinion. 

Eminem - "The Slim Shady LP"

Eminem released “The Slim Shady LP” on February 23, 1999 on Aftermath/Interscope Records. “The Slim Shady LP” is a stark change from Eminem’s debut “Infinite”, which was featured a light and hopeful Eminem. Eminem is said to have created the alias Slim Shady, in order to vent his frustrations with trying have a career in music and just life in general. “The Slim Shady LP” is brash and appalling but it is presented in a skillful and comedic way that makes Eminem endearing. The album’s production was handled primarily by Detroit-natives the Bass Brothers, who are responsible for a lot of the beats on Eminem’s early work. The album also features Dr. Dre, both as a rapper and a producer, and all though he was only directly involved on 3 tracks, his influence can be felt throughout the entire album. “The Slim Shady LP” won a Grammy for Best Rap Album in 2000 and his song “My Name Is” won a Grammy for Best Solo Rap Performance in the same year. “The Slim Shady LP” is the foundation of a career that has seen Eminem become the best-selling Hip Hop artist of all time and one of the best Emcees of all time.

Guest review with Dom (@dominiqueblea) and Mike T. (@mike_t_bvnm)

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Chris: Dom, what is about Eminem that is so appealing to you?

Dom: Everyone wants to claim that they just don't give a fuck while still sticking to who they really are, and Marshall Mathers was able to do that while conquering the Rap world. He earned that distinction with the ability to tell a story in a flow that reminded me of Pac, and a presence that cut through all stereotypes. All of a sudden a White boy with a durag was able to rap side by side with Mr. Chronic himself, and the world had forever been turned upside down.

He talked about all the things we'd day dream about, but were too afraid to every put into words. In today's world where our ambitions revolve around society's recognitions, a trophy or public approval was the last thing he gave a fuck about. And even then he didn't want it. He put on blast all the fake happy people living in their little bubbles, too ignorant to recognize the struggle, while giving the kid with anxiety a voice.

Eminem – “Rock Bottom”

 

Chris: Yes! I agree. Thank you, Dom!

So, Eminem isn’t satirical ALL of the time and his lyrics aren’t intended for shock value all the time either and it’s not always easy to discern which he is going for on a particular track. I can’t help wonder how “The Slim Shady LP” would be received if it came today. In your opinion, which track would be the most offensive if it came out today and what do you think of Eminem’s chances of becoming one of the best and best-selling rappers of all-time if the “The Slim Shady LP” was released today?

Mike T.: You want my honest opinion? Honestly I think it's not just one track that can be picked. This album was on another level. He had nothing to lose so the censorship was non-existent. Take ‘Guilty Conscience” for instance. The second verse with Stan Slim in trying to convince Stan to take advantage of a 15 year old drunk girl that he told to slip a date rape drug. Then you have “’97 Bonnie and Clyde.” “Telling his daughter that he's killed her Mom, and she's in the trunk. He even tells his daughter to help him tie the rope around her legs. I personally can't pick just one track because the thing in the end is when you hear those satirical tracks it's full blown Slim Shady, and there's no boundaries with Shady. If Eminem came out today I don't think he would have blown up the way he did. People get too easily offended by everything, and anything. This album was already edgy for its time. Yet it was so popular as well. Even though the point of a lot of his songs was just to be outlandish people wouldn't be able to see that its satire. Even in comedy today stand up or sit com. Satire doesn't have the effect it did 15+ years ago. This album is a gem in the sense that it encapsulates Shady in that he said, and did what he wanted.

Dom: I love the fact that when we think of Em one of the first words that comes to mind is satirical. If you've lived through this life with honesty, you've felt those homicidal ideations sporadically. This world isn't intended to be without them. Yes, he does sprinkle his truth with a heavy dose of sarcasm, which makes it fun, and sometimes hard to swallow. Taking a step back, reflecting, digesting, the first word that should come to mind is genius. 

In discussing his satirical nature, it's best depicted in “97 Bonnie & Clyde”, and that would also be the most offensive song today if the album was just released. “The Slim Shady LP” was as if we discovered water on Mars, and today would have an even bigger impact. We weren't ready for “The Slim Shady LP” back then, and today we still wouldn't be able to understand its true greatness. Mumbling along with the current climate of hip hop, it would sell, but not at the rate of a Lil Baby or Uzi. Even through his greatness, it would not peak in 2020 like it did in 1999.

Chris: I was going to say “97 Bonnie and Clyde” for sure, especially when you know the back story behind the song. Eminem had picked up his daughter under the pretense that he was taking her to Chuck E. Cheese but he actually he took her to the studio to record. The little girl you hear on “97 Bonnie and Clyde” is his actual daughter Hailey. But anyway, I think Mike make a good point, what group did he leave alone? He even went after other White rappers! Everyone gets a chance to be offended. I can’t see this doing as well as it did coming out today but who knows, Dom could be right!

Eminem – “97 Bonnie and Clyde”

 

Chris: Why do you think the album and Eminem were so well received at the time? Do you think it had to do with Dr. Dre backing the project?

Mike T.: I definitely think Dre had a huge play into how Em was received. But if you think about it he was a triple threat with his entrance. You had a white guy that came from the trailer park. Backed by Dr. Dre. but he could rap. No one was ready for that. Besides the Beastie Boys, in my opinion White boys just didn't hold up well in the Hip Hop scene. Then comes Eminem. Dre struck gold with him. But Em put in the work to be successful. The Slim Shady LP was Em's moment to lay it all on the table. That's what he did, and with Dr. Dre backing and producing his album it was a recipe for success. 

Dom: The album was so well received due to the content. The format that it was broadcast, and for the time it was rejuvenating. We were caught in a time machine being flooded with "No Scrubs" and Britney Spears. Eminem came in and said fuck you to everyone, pissed on Grammy's before Kanye West had a chance, and unleashed an assault we had never witness before. Dre definitely played a large part due to his west coast backing, and diamond accolades. The partnership was a match made and further propelled the project past its wildest dreams.

Eminem – “My Name Is”

 

Chris: Speaking of shock rappers, another one that comes to mind is Tyler, the Creator. While researching for this album, I found a couple of interviews where Tyler regards Eminem as his favorite rapper of all-time but he also has said that Eminem “pick(s) some of the worst beats ever.” I agree with Tyler on this one. Other than the first few albums, Eminem’s other work have missed the mark for me. I would actually argue that “The Slim Shady LP” is his best album, beat-wise. Would you all concur with that statement? And why or why not?

Dom: No, I would actually suggest that "Recovery" be considered for best beats album when it comes to his arsenal. You notice the maturity when it comes to the beats and how he's embraced the change in the Rap landscape. In addition, the biggest win over for me was him taking accountability for "Relapse" being a flop and reestablishing himself as a force.

Mike T.: I never really noticed that to be honest. His beats were always pretty different from your typical hip hop beats in my opinion. But you I don’t really think that’s what makes Eminem songs what they are. His lyrics outshine his beats for me. I’d have to go through his discography to really get a feel for this.  

Chris: While doing research on this album, I found an interview with Ice-T in which he said that the difference between Eminem and other white rappers from the past is that Eminem rapped his self and the way he grew up in the trailer park and his life experience. I tend to agree, every other white rapper I can think of before Eminem rapped about things that were already pretty prevalent in Hip Hop. Is this something that makes Eminem more appealing to you? 

Dom: Of course, him embracing his upbringing for all its tortures is the most appealing feat. Anyone can rap about cars and women, but very few can rap about being a monster while offering clarity at the same time.

Chris: I agree. I’m more interested in hearing about the way that others experience the world rather than something I’ve heard over 100 times before. This definitely adds to the appeal of the album and Eminem for me. 

Mike T: Definitely. It goes back to earlier when you even mentioned he was really good at making fun of himself. He used his experiences, and where he came from to a creative positive for him and his career. I agree with Dom in that anyone can talk about money, cars, and women. Yet Em rapped about the all the screwed up experiences he went through, and the messed up thoughts in his head. That shock factor just pulled you in. 

Chris: Did you have any favorite tracks?

Dom: My favorite track is “Rock Bottom”

Mike T.: Gonna start it off with an obvious one. "My Name Is" its just such a catchy song to start the album with. "Guilty conscience" in pair with its music video. I love the back and forth between Dre and Em. Then you throw the music video into the mix. You get to see Em's comedic personality. Plus, it’s a music video when music videos actually followed the story of a song. The video was a visual representation of the song. Not just him rapping in a room like videos are nowadays.  "Role Model"  one of my favorite lines from this song is "You beef with me, I'mma even the score equally. Take you on Jerry Springer and beat your ass legally."  He goes throw just scenario after scenario of him being a degenerate. Seems like a perfect role model to me. The last track "Still Don't Give A F*ck" is a track that he i think it ends on the perfect feel that he didn't care what people thought. "Yo this blunt's for you. To all the people I've offended. Yeah, fuck you too!" 

Jerry Springer Best Fights!

 

 Chris: Dom, “Rock Bottom” is a really underrated song. I just always dig those personal, self-reflective songs. For me, hands down, my favorite track is “Role Model”. It, in my opinion, is the song that best represents Eminem at the time. I think this the first song on the album where he really displays his skills as a rapper. You hear Eminem, the battle rapper, the emcee. Eminem, the humorist. Eminem, the shock rapper. It’s funny to listen to it now and hear all the references, it’s obviously a song that came out in 1999. I think “Role Model” also is the best beat on the album. Produced by Dr. Dre, it did not have a sample.

Eminem – “Role Model”

 

Chris: I remember hearing Dave Chappelle talk once about the relationship between comedians and musicians. Comedians want to be musicians and musicians think that they are funny. Seldom are comedians great musicians and they’re probably aren’t too many musicians who are very funny. Eminem being one of the outliers, in my opinion. He’s a gifted storyteller, he’s got great comedic timing, he can be very animated, he doesn’t mind using his self as the subject matter and he’s very clever with his word play. Are there any moments on this album that you found particularly funny and what do you think the value of comedy in music is?

Mike T: Eminem was a great storyteller. That was one of the big reasons why he was such a talented artist. I can see where Dave is going with that statement. From my point of view on this, I think he's touching on the way that musicians can captivate a crowd.  Comedians can do that to a point. With comedians if someone starts chatting, or heckles in the middle of their set it’s a complete distraction. When a musician is playing if someone is having a conversation they can't hear that. The only time they can get heckled is when the music isn't playing. Now when you apply this to Eminem you get the best of both worlds with this album. He can clown on himself or society. Talk absurdly, and say whatever he wants. I stated this line in the previous question "You beef with me, I'mma even the score equally. Take you on Jerry Springer and beat your ass legally." That line stood out cause when he says this you could totally picture Eminem being a troll on the set of Springer taunting some dude while being held back by Steve Wilkos. That's the comedic picture that Em has the ability to paint. Some might not find it that funny, but even “97 Bonnie and Clyde” how he’s involving Hailey in her Mom’s murder. The whole time you hear Hailey throughout the track in moments of excitement. Like when he asks her if she wants to help him build a sand castle. It’s a dark moment or act that has and is happening, but she’s so young and hearing her just added depth to it. Then you have the typical “My Name Is.” Right of asking kids if they like violence? Do they want to see him stick 9 inch nails through each one of his eyelids? The shock factor is there, but to me it’s funny because it’s so out there from typical rap you would hear. Even now you wouldn't hear a rapper saying something like that. Then he has the music video to go along with it. Having this Pee Wee Hermon vibe. He really did hit the nail on the head with the line "Shady, wait a minute, that's my girl, dawg! I don't give a fuck, God sent me to piss the world off!" and that’s exactly what he did when he hit the scene. So many pissed off mothers. Looking back it’s funny to picture your sitcom Mother getting upset with a kid listening to Shady.

Chris: I took him more literally, kind of like basketball players wanting to rap and rappers wanting to play basketball but I see the where you’re trying to go with that. I would probably say the funniest one to me was “My Fault”. Eminem is really gifted when it comes to these, I don’t know what you want to call them, but dialogue raps (?) “Dave, pull up your pants/ We need an ambulance/There’s a girl upstairs talking to plants”. I personally place a lot of value on comedy in my Hip Hop. I’m a big fan of Cam’ron and it’s mostly because I think he is funny. I’d say the same thing about someone like Paul Wall.

Dom: I sit parallel with you two in the fact that he was great storyteller with a knack for comedic relief. After listening to the album for probably the 100th time since my ears lost their virginity to it in 1999, it's absolutely hilarious from top to bottom. The comedy is best captured in "Guilty Conscience" all the way to the skits when Paul is calling him to say "cool it down". Comedy and music are similar in that they're a release for us, while at the same time listening to story we can relate with. 

Eminem feat. Dr. Dre – “Guilty Conscience”

 

 Ronald Stein – “Go Home Pigs”

 

Chris: How do YOU feel about the “The Slim Shady LP” in 2020? Has it stood the test of time for you?

Dom: It has aged like a fine wine, and makes even more sense to me that it did then, which is the beauty of the album. When it first dropped it was preposterous, unsettling, shook our foundation and now looking back, he was ahead of his time, and the message was meant for 2020. God help humanity!

Chris: The only Eminem albums I’ve really ever been into are this one and the “Marshall Mathers LP”, so I was going into this review as a fan of the album and actually, I enjoyed it more this time around. It’s funny how your sensibilities will change as you get older. I remember listening to this back when it came out and there wasn’t really anything that was said stood out is particularly offensive. Listening to it in 2020, it was a lot of shaking my head while nodding it, but I think the overall product is really good. I’m not sure about the other works in the Bass Brothers’ catalog but this one has to be up there for them and Eminem’s skills are on full display on tracks like “My Name is”, “Role Model” and the song with Royce da 5’9”. Eminem and Royce da 5’9” have done some collaborations together under the moniker Bad Meets Evil that are really good and really encourage you to check out. Random story but back in the day, I had it set up so that my computer would play the first 30 seconds of the instrumental to “Scary Movie” whenever it was turned on. Anyway, “The Slim Shady LP” is definitely an entertaining listen. 

Mike T.: I'd say yes! Also being older you get the references or jokes more throughout the album. I was 9 when this album came out so if I listened to the song I was just repeating words because those were the lyrics. I didn't know what he was talking about. Now though, I'd say I appreciate the humor, and the lyricism more because I'm old enough to. Eminem really broke the mold. He gave no fucks because what did he have to lose? Go balls to the wall, and it paid off. Making his mark on the world "The Slim Shady LP" has stood the test of time 21 years later. I might not have been able to really appreciate the album when it came out, but now that’s not a problem. This is something I really appreciate about doing these reviews is that a lot of these albums we've gone over have been early to later 90's so it’s a nice throwback to the good old days. Because being a 90's kid you heard this stuff growing up, but you don't get to listen to it or appreciate it like you can now.  

Black Star - "Mos Def and Talib Kweli are Black Star"

“Mos Def & Talib Kweli are Black Star” was released on September 29, 1998 on Rawkus Records. The name Black Star pays tribute to the Black Star Line, which was a shipping company established, with the help of Marcus Garvey, to help incoporate Black owned businesses into the global economy, thereby promoting economic independence in the Black community. The Black Star moniker was aptly chosen because like the Black Star Line, Mos Def (now known as Yasin Bey) and Talib Kweli were socially conscious, pro-Black and their label was independent. Both Mos Def and Talib Kweli, who both had already released singles on Rawkus, postponed their solo projects in order to work on an album together. Half of the tracks were produced by the Rawkus staple, Hi-Tek, and the other half were split up between Da Beatminerz, Shawn J. Period, J. Rawls, Ge-ology and 88-Keys. Many consider the Black Star album to be the finest of the Rawkus releases and the collaboration between Mos and Talib to be one of the best duos in Hip Hop history. 

 Guest review with Sean (@bort_sampson_) 

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Chris: So why did you want to review “Mos Def & Talib Kweli are Black Star”? 

Sean: I like reviewing these old Rawkus records in general because they were so ingrained in our lives back then. Damn near every drop, we were at Hastings coping the new – Talib, Hi-Tek, Big L, Reflection Eternal. And the one that had already dropped, we copped those too – Mos, Pharaoh, High & Mighty, and of course Black Star. Give that we both consider this album a classic, I wanted to see what your current thought on it were, and if you still considered it a classic. 

Chris: Indeed, that was back when you were judged by the quality of your CD book. I don’t think I ate lunch one time in High School haha. All that lunch money went towards CDs.

I actually heard “Black on Both Sides” before I had heard the Black Star album and I’m pretty sure the first time I heard it was on a burned copy I had gotten from you, Sean. Do you guys have any memories of listening to “Mos Def and Talib Kweli are Black Star”?

Sean: Same here. “Black on Both Side” was my introduction to both Mos and Talib. I do remember thinking I had to cop Black Star the moment I found out about it. I think it actually took a minute to find it in store and being pretty stoked when I finally did.

Chris: Oh man! I love that feeling of finding a coveted album in the stores. You don’t get that nowadays just the disappointment of when something is available for streaming like De La Soul’s catalog, although you can find it all, in various qualities, on YouTube.

A lot of people consider “Mos Def and Talib Kweli are Black Star” to be one of the shining examples of the Conscious Hip Hop movement of the late 90s and early 2000s. Is Conscious Hip Hop a sub-genre you gravitated towards? Is there a song in particular on this album that stood out for its message?

Sean: Not necessarily. I would say my taste in Hip Hop was pretty broad. On one hand, I loved artists that were “conscious” or “backpackers”, like Black Star, Common, De La Soul, Tribe, etc. But, I also loved old school, early 90s Dr Dre, Snoop, Ice Cube. On a third hand, I also liked the late 90s Cash Money squad, Pop Rap, and underground stuff. And I wouldn’t listen to something simply because it was something, I tried to keep a pretty open mind.

Chris: I’m definitely on the same boat as you. It was pretty much all just Hip Hop to me but I do remember a lot of people referred to “conscious” Hip Hop as “underground” Hip Hop. Definitely was asked the question, “Do you like Underground?” and remember people saying they were only into “underground.” I guess because “conscious” Hip Hop was pushed on the airwaves as much some of the other musicians you mentioned.

 

Chris: DJ Hi-Tek produced “Definition”, “Re:Definition”, “K.O.S.”, “Respiration” and “Twice Inna Lifetime” on this album. Where do you think Hi-Tek’s work on this album ranks with the rest of his discography? 

Sean: I think pretty high, if not his best. I mean, this album is pretty widely considered to be the pinnacle of the Rawkus catalog, and the songs you mentioned are some stone cold classics. So, I think by definition, it almost has to be his best work. Hi-Tek was pretty instrumental in shaping the Rawkus sound and put out so many bangers for Rawkus back then, so I think it’s closer than one would think. The Reflection Eternal and “Hi-Teknology” albums are pretty underrated in my opinion, and generally speaking Hi-Tek doesn’t get enough love for his work. I was looking for “Hi-Teknology” the other day on Rhapsody and was disappointed it wasn’t streaming there.

Chris: Definitely. Mike and I actually reviewed “Hi-Teknology” in one of our earlier posts and I felt like it really held up. Based on the tracks mentioned here, Black Star almost should be Mos, Talib and Hi-Tek but then again, I was so pumped to hear a Black Star album with Madlib behind the boards! Hopefully, we’ll get to hear that one day.

I think one of the cool things about Mos and Talib is the homage they pay to Hip Hop. There is “B Boys will B Boys”, the reinterpretation of Slick Rick’s “Children’s Story”, the BDP inspired “Definition” and many other references throughout the album. Is this something that you enjoyed as well?

Black Star - "Definition"

Boogie Down Productions - "Remix for P is Free"

 

Yellowman – “Zungguzungguzungguzeng”

 

Sean: It was something I appreciated the more I listened to it and the older I got. Back then, I was less invested in the homages or references they were making than I was in whether or not I connected with the song. Once you connect, then you begin to take that next step and dig deeper into the material, which is what happened to me. And I think that’s a pretty cool way to learn about the history of something.

Chris: Did you all have any favorite tracks?

Sean: My favorite track is “Respiration.”

Chris: That’s a great one! Mine has become a favorite track now that we decided to revisit this album, “Thieves in the Night”. Bree and I saw Talib in concert about a year ago. I think of seen Talib literally about 15 times in my lifetime. We used to have this joke that he was rent a room in house behind LA Underground. Anyway, he introduced the song “Thieves in the Night” by saying it wasn’t a song he performed very often but he felt like it was very pertinent during these times and I couldn’t agree more. The chorus is a quote for Toni Morrison’s book “The Bluest Eye”. I really recommend the book and giving the song a couple of more spins. 

Black Star - "Thieves in the Night"

 

Chris: Let’s talk about the song “Respiration.” Of course, it features Common, who although he wasn’t signed to Rawkus Records but appeared on 3 of the Top 10 Rawkus songs, according to Complex. Actually, Complex has their number 1 song in their ranking of the Top 50 Rawkus Records Songs. Since you guys are pretty well versed in the Rawkus catalog, do you agree with that ranking? 

 Black Star feat. Common - "Respiration"

  

Sean: Yes, I agree with that. To me, it’s the quintessential Rawkus song – first, you have two hyper intellectual MCs that were probably the biggest names on the label and a third hyper intellectual MC who could’ve been, and who should have and who many people thought was. Second, the subject material was classic Rawkus – a deep look at the world around each of them, much deeper that “murder, drugs and bitches” and other Gangsta rap ethos of the time. And finally, it was produced by Hi-Tek, who played a large role in shaping the Rawkus sound. If I could only listen to one track from the Rawkus catalog, this would probably be it.

Chris: Knowing how big of a fan you are of “Black on Both Side”, I thought you would have said “Ms. Fatbooty”. I actually don’t agree with the ranking. When I think of THEE quintessential Rawkus song, the first one that comes to my mind is “1-9-9-9” or even “Definition” from this album. I was surprised Complex ranked “1-9-9-9” 5th and “Definition” was 27th! 

So this is the third Rawkus release we’ve reviewed together (“Black on Both Side, “Home Field Advantage” and now “Black Star”). On our review of “Home Field Advantage,” the three of us all agreed that “Black Star” was the best album in the Rawkus discography. Now that the album is a little fresher in our minds, do you still feel the same about the album?

Sean:  I do agree with that – this still is the gold standard of Rawkus records for me, along with “Black on Both Sides”. Great flows, great beats, a deep dive into Hip Hop history, phenomenal album art work and two MCs who were at the height of their abilities. In addition, it has a good mix of bangers, “Definition” and “Re:Definition”, and more introspective songs, like “Brown Skin Lady” and “Thieves in the Night”, and a certifiable classic that is and in an introspective banger like “Respiration”. This album is like J Lo, it just keeps getting better with age.

MF Grimm - "The Downfall of Ibliys: A Ghetto Opera"

Percy Carey, or MF Grimm, while not well-known in Pop Culture is one of Hip Hop music’s greatest treasures. MF Grimm released his studio debut, “The Downfall of Ibliys: A Ghetto Opera”, on his own label, Day by Day Entertainment on January 12, 2002. On the album, Grimm chronicles the life decisions he made that led him to his current state, paralyzed from the waist down after being shot 10 times. Grimm’s, is a story of resilience and self-awareness, two qualities not too many have. After being sentence to life in prison for narcotics and conspiracy related charges, Grimm paid $100,000 for one-day bail, in order to record what would become “The Downfall of Ibliys” in 24 hours. Grimm received production help from MF Doom, Dr. Butcher, Cas, Count Bass D and others. “The Downfall of Ibliys” is an underground classic and should be required listening for anyone claiming to be a MF Doom fan. 

 *****3rd review with Mike T (@mike_t_bvnm) 

 ***************** 

Chris: Let’s first discuss how we got here. You wanted to review another album but you weren’t sure what album. You asked me to come up with a list of 7 albums. You then narrowed it down to 3 and chose an album from those final 3 based the album cover alone. You ended up choosing MF Grimm’s “The Downfall of Ibliys: A Ghetto Opera.” Can you explain what drew you to “The Downfall of Ibliys”? 

Mike: What drew me to this album was the visual representation of the title to the album art. I wanted to choose an album for us to listen to that I had no idea what the album sounded like or anything. I thought it would be a fun way to choose an album rather than just a conventional "how about this one?". Plus "A Ghetto Opera" that in itself is just an intriguing title. Plus, little did I know that the album or the artist I picked would offer a little more than just an album to listen to. You let me know he had written a graphic novel. So that added a cool little bonus for this review.

Chris: Well, I was really excited when you chose it! MF Grimm is not a name you hear a lot of people mention and a lot of times you’ll wonder, why not? 

Anyway, I’m sure you gathered from listening to the album that Ibliys is an alias of Satan’s and as you know, Satan is a fallen angel. On this album Grimm likens himself to Ibliys, in that they had a similar downfall. Ibliys from heaven and Grimm from a solid upbringing. On “The Downfall of Ibliys” Grimm details his demise but to me, it’s not in a way that glorifies what he did but rather he’s taking ownership of the things he did. Was that the impression he left on you? And what is your opinion on rappers who like to, for lack of a better way of saying it, confess their crimes on record? 

Mike: I can agree with you on this that the story he is telling isn't a glorification of his actions, but a spoken ownership of what he's down throughout his life. Going from child actor on Sesame Street to Hustling weed in a wheelchair on the daily. You get the feeling he understood what he did as a man, and that is why it feels like an announcement of ownership of his actions. If you read the book there's a point early on in the story where he mentions he knows what's bad, but it was fun, and felt good. Now in regards to rappers who confess their crimes on record. I think a lot of the time it feels like they are trying to gain what people today refer to as Clout. But then again not many rappers nowadays even come close to the level of "gangster" that rappers from MF Grimm's era did. 

Chris: Let’s talk about the song “Life and Death.” In it, Grimm talks about his struggle with doing right and the seductiveness of the excitement of doing wrong. He refers to both Life and Death as “her” as if they are two women competing for his love and attention. Life being the girl you want to take home to introduce her to your folks and Death, the girl you and everyone knows is wrong for you but you still mess with her. What did you think of the song “Life and Death” and its message? Mike: This song was one I had to listen to a few more times once you asked me this question. You made me look into this deeper than the original impression it gave me. I liked how you described each. "Life" is the girl you want to bring home to your folks, but "Death" she's the one that brings excitement to your life, but at a toxic cost. After listening to the song a few more times it makes you think. How bad is going down a straight path? You flirt, build a pathway with "Life", and it's great. It brings joy, success, and fulfillment. Yet it misses that excitement of spontaneity. Then "Death" comes into your life, and in Grimm's words who you meet "through her cousin sleep" things change. I think this song is his way of saying "look kids this is what happens when you choose the wrong relationship" because even though he knew it was a bad relationship to get into he just didn't listen. 

Chris: It’s a very relatable song, which is one of the reasons I enjoy it so much. We all have to deal with that expectation of doing the right thing instead of pursuing things that are more pleasurable even if they

are more harmful.

MF Grimm – “Life and Death” 

 

Chris: The majority of the production on the album was handled by MF Doom under his alias Metal Fingers. When you’re going to have a conversation about MF Grimm it is almost going to include Doom and vice versa. What did you think about the production on the album and the tracks (“Foolish” and “Voice Pt. 1” featuring MF Doom? 

 

Mike: I think the production of this album, and the songs I felt embodied that East Coast sound. Like Wu-Tang. MF Grimm's album had that raw sound to all of it. Look at the intro of "Voice Pt. 1" when the track starts it legit sounds like some one is just singing a song they like in their car. That's the feeling this album gave me while listening to it. I think that is one thing this album really did well with is the production. Because it gives the listener that sense of this was recorded in a small venue somewhere in a hidden part of Brooklyn. I personally feel that if you are a true Hip Hop head. Especially the underground hip hop scene this is the sound you love. The sound that makes these artist who they are. I like it because its authentic, but in the end its not my favorite. Without doing these reviews with you I wouldn't have learned about this though. So with that I am Team West Coast haha. But I'm glad I've learned what I have from these. It's been a fun experience, and I'm looking forward to the next review. 

MF Grimm & MF Doom - "I Hear Voices Part 0 & 1"

   

Chris: As part of this review, we both read MF Grimm’s comic “Sentences: The Life of MF Grimm”. What did you think of it? Did it change the way you listened to the album? 

Mike: I really liked the book, and I am not a big reader. Granted it was a graphic novel, but still I usually don't enjoy reading that much. This was a cool bonus for this review when you mentioned he had done a book. I enjoyed how it went through his life from the beginning. From hanging out with Big Bird, to getting out of prison. There were a few things that the book informed me that you wouldn't have learned from the album in my position. Like him getting involved with Death Row Records. Performing with Tupac, Snoop, and a handful of other artists. So, it was really cool to learn more about the person behind the album itself, and get a little bit of a visual adaptation of what I was listening to. Music like a book can paint a picture for your mind. Especially Hip Hop artists like Grimm. Because their music isn't just a catchy hook. It's a story. It made me want to listen to the album again and try and see where in the book the song is talking about. It didn't exactly work like that haha, but it was fun to see the progression of Grimm's life from album to book.

Chris: Grimm is well known for his dope features and for his prowess as a ghostwriter. When I think of Grimm, one of the first tracks that comes to mind is the song he did with Kool G, “Take ‘Em To War”. Are there any tracks on “The Downfall of Ibliys” that stand out to you for their lyrical content? Mike: The first song that comes to mind for lyrical content immediately is "Teach the Babies". This song comes to mind because of how he twists the everyday ABC's. It might not be the most crazy lyrically driven song on the album, but a song that sticks out for lyrical content this song was the first thing i thought of. Just because honestly, it's a creative twist to something pretty basic. 

MF Grimm - "Teach the Babies"

   

Chris: What were some of your favorite tracks? 

Mike: Favorite tracks this is always a hard question because I feel with these reviews they always change the more you listen to the album. Because you pick up on more things that might not have caught your attention initially. So to keep this one short I'll list my 3 favorite tracks. "Foolish", "Rain Blood", and "Omega". This style of Hip Hop is still a little harder for me to fully dive into because of the raw style. Not being someone who has grown up listening to hip hop it's a different taste. Not bad at all, just different. It keeps to the authentic late 80's early 90's hip hop. Honestly next to the Wu-Tang review I never really knew this was a style of hip hop. But I've learned to appreciate that authenticity in the album. 

Chris: “Rain Blood”! Such a dope track. It is one song on the album that doesn’t feature Grimm’s vocals. Megalon kills that Doom beat. 

 MF Grimm feat. Megalon - "Rain Blood"

   

Chris: Other than “Life and Death”, my favorite track is “Words” which was produced by my guy Count Bass D. I dig the introspection and the dope harmonica sample. You don’t find a lot of harmonica sampled in Hip Hop, leave it to Count Bass D. 

 MF Grimm - "Words" (Produced by Count Bass D) 

 

 Andrae Crouch - "I'll Be Thinking About You"

   

Chris: Probably my favorite part of reviewing albums with you is that you’re coming from into these reviews blind. I think it’s safe to say that had it not been for the way we chose to review this album, the likelihood of you hearing MF Grimm wouldn’t have been very great, where for me, MF Grimm is one of the best. So now that you’ve heard MF Grimm, where does he rate in with the other rappers you’ve heard? Has listening to “The Downfall of Ibliys” encouraged you to check out more of the MF Grimm discography? 

Mike: Oh, I for sure would not have thought to check out MF Grimm's music. That's why I felt this would be a fun/different way to choose an album to listen to. Now after listening to this album would I listen to more of his work? I will check out some more of his stuff. See how or if his style changed as his releases came out, because you know no artist puts out something that sounds the same their entire career. You asked me where I rate him compared to other artists I've listened to. I still want to say Dr. Dre, and the West Coast rappers rank higher. There's just something about the West Coast style that for me I enjoy more. The East Coast from doing these reviews with you I've noticed are the more raw, and real artists in the way the record. Whereas the West Coast guys I personally think they have a more generic structure to their songs. They have a catchy hook, and more a beat that I pertain to like when listening to Hip Hop, but I like that because of these reviews I get to expand on music I've never listened to or thought of listening to. 

Chris: I really enjoyed listening to this album again, even more now knowing the back story. Just straight loop based Hip Hop, reminding me of the late 80s, the Golden era. I appreciate Grimm’s honesty and the lengths that he went through to get this album out there. I’ve often heard people say that your first album is often your best because you’ve had your whole life up to that point to create that record. I think this holds true in this case.

Coolio - "Gangsta's Paradise"

Coolio released his second studio album, “Gangsta’s Paradise”, November 21, 1995 on Tommy Boy Records. His most successful album sales wise, “Gangsta’s Paradise” sold over 3 million copies in the United States alone. The title track, which was used in the film Dangerous Minds, also won Coolio a Grammy for Best Rap Solo Performance. On the album, Coolio depicts the trials of life as a gangster, cautions against the practice of unsafe sex, urges Men to take the responsibility of fatherhood seriously, and blesses us with the Coolio standard party jam. Production was handled by several different producers, each brining a unique sound, but also befitting Coolio, to the album. The album also features appearances by the 40 Thevz, E-40, LA, “J.T.” Taylor, and Ras Kass among others. “Gangsta’s Paradise” is in grained in the memory of every 80s and 90s baby, Hip Hop fans or not. Coolio’s ability to draw fans of other genres is a quality not held by many other artists and is one of the reasons Coolio is so well regard amongst fans of music.

 ******Guest's choice review James (@ghostdriver22) 

 ************************************ 

Chris: James! Welcome to the blog! Thank you for coming on! First off, what made you want to review “Gangsta’s Paradise”? Do you have any specific memories from listening to this album when you were younger? 

James: Chris, thanks for having me! What made me want to review “Gangsta’s Paradise” was the memories it brought with as a kid. I was 9 when I first heard it and bought the cassette with my older Godbrother Kevin. One specific memory was finding the cassette in my Mom’s office between a couple office files after she had heard some of the songs I was listening to. 

Chris: So did you take it back then? I think that I’ve mentioned it before on the blog that my parents censored us growing up but it didn’t stop us listening or procuring albums with that “Parental Advisory” label. Actually at one point I had gotten my collection confiscated and I had to resort to keeping my tapes at my next neighbor’s house. 

James: I did. I searched for the tape the next day but it was not until about a week later that I noticed the case peeking out between a couple books on the upper shelf in her office. 

Chris: When I read other reviews on this album, the critics lauded Coolio’s ability to describe the harsh realities of inner city life all while maintaining mainstream appeal. For me, especially when listening to songs like “Geto Highlites” and “Gangsta’s Paradise”, it was hard to take Coolio seriously. The mainstream appeal is probably would turned me off from really delving into what he was actually saying. It was just kind of funny to me. What do think of Coolio as a chronicler of the ghetto experience? 

James: In some ways I can completely relate to how you feel. Some roads Coolio took his listeners down, were a little bumpy and straight up a wall which many just ran into. When I was 9, those songs went right over my head and the only similar experience I had to a ghetto was my first deployment in Kandahar living in a tent with people from around the world that left their country to survive. I think Coolio lived it and was not always sober when he wrote so to understand some/many of his lyrics could be impossible. 

Chris: So after that experience in Kandahar, do the lyrics of a song like “Gangster’s Paradise” resonate more with you now? I can imagine that it might. I don’t know if it’s the hair or the fact that he reminds me of my Uncle or the content of some of his other songs but I couldn’t and still can’t get there. James: I think unless you came up near Coolio or lived the same situations, all one can do is listen and try their best to appreciate each story. 

Coolio feat. L.V. – “Gangsta’s Paradise”

   

Chris: An easy topic for discussion would be Weird Al’s parody of “Gangster’s Paradise” but I’m more interested in your opinion on some of the other “Gangster’s Paradise” parodies that are out there. What are your thoughts on David Lopez’s “Hispanic Paradise” and Miss Cartmell’s “Mathematics Paradise”? 

James: I think those parody’s are entertaining and a tool to latch children by relation into learning. Weird Al was a genius in his own right and the other versions I’m newly familiar with. I typically prefer the original. 

 Chris: If “Gangster’s Paradise” were too come out today, a #GangstasParadiseChallenge would undoubtedly go viral. The “Hispanic Paradise” hits home for me and I enjoy the math humor in “Mathematics Paradise”. After re-listening to this album, I have more of an appreciation for the OG as well. Did you know that LV, the guy that sang the hook, also did all of the voices you hear in the choir? 

David Lopez – “Hispanic Paradise”

   

Miss Cartmell’s Class – “Mathematics Paradise”

   

James: Not until you mentioned LV did I know he did all of them. There may have been a gap from my childhood ‘til now that I did not listen or research Coolio. 

Chris: There were several different producers that contributed to the beats on this album. What did you think about the production on the album? Did you feel like it lacked cohesion with that many different people behind the boards? 

James: As simple as the beat was for “Gangsta’s Paradise”, it was complex for its time. Some of the other songs on the album seemed like fillers but that’s typical with albums is to have 1 or 2 songs that make it to the charts and the rest just sit and fill the room. 

Chris: One thing I learned after listening to this album again is that J.T. from Kool & the Gang sang the hook on “Too Hot”. That got me wondering how J.T. felt singing the hook on a reinterpretation of one of his old songs. The Kool & the Gang version was about a tumultuous relationship hitting its boiling point, while Coolio’s was about the importance of practicing safe sex. Again, this was a song that just came across as funny to me and I appreciate Coolio on that level even if that was not his intention. What did you think of Coolio’s “Too Hot”? 

James: With a couple 15s bumpin’ and a girl in the passenger seat, with tracks like “Too Hot”, there is nowhere else I’d rather be. Once I was old enough to drive the streets, beats like these always made me feel care free. Coolio was being a realist in this track because kids are going to explore and learn the world. Human nature will always prove this. The best thing parents can do is try their best to prepare and make kids aware. 

Chris: My favorite line on “Too Hot” was “Understand that we livin’ in the the 90s, loc/Nuclear waste, cannibalism and pistol smoke”. That cannibalism line really caught me off guard. Was there really a high incidence of cannibalism in the 1990s? So I googled it and there actually was! 

James: Cannibalism is a horrifying topic but still happens today around the world. I think this was noted in the song because people may have had so little that after taking out an enemy in the hood, some may have taken the body home to survive. That is just my guess. Nuclear waste, in Compton CA? Maybe, I was north of Oakland but I know Oakland produced some stuff that was not good for the environment, surprising being right on coast… 

Coolio feat. James “J.T.” Taylor – “Too Hot” 

 

Chris: Probably my favorite song on the album is “1, 2, 3, 4”. It’s just Coolio doing what he does best. The party track. “1, 2, 3, 4” isn’t quite “Fantastic Voyage” but it’s right up there and the use of the Tom Browne sample is just brilliant. I actually prefer the video version (the “Timber Mix”) to the album version. What was your favorite song(s) on the album? 

James: Truth be told, I will always remember and mention “Gangsta’s Paradise” first, but “1, 2, 3, 4” is probably the song my Mom overheard and ended up taking the cassette that day back in 95’. So that memory of the censorship will make me laugh…since I kept listening anyway after I found the cassette later. 

Chris: Do you remember which line it was? James: “Gotta Gotta get up to get down” My mom took it I was listening to songs about partying and hooking up. I was even banned from listening to some disco because of similar lyrics. This lasted a short time. 

 Coolio – “1, 2, 3, 4 (Sumpin’ New)” (Timber Mix)

   

Tom Browne – “Thighs High (Grip Your Hips)”

   

Chris: “Gangsta’s Paradise” was a highly successful album in terms of sales and impact on popular culture. Did it stand the test of time for you? How do you feel “Gangsta’s Paradise” now after re-listening? 

James: Yes. Typically I listen to the more upbeat songs to improve my mood. “Gangsta’s Paradise” is one of the songs I will never forget and used to go to sleep to so now days it is still fresh in my mind. After re-listening, I think “Oh man” if I ever met Coolio, I would have to pay respect for what he survived growing up and all the hard work he put in back in the day. Motivates me to keep a poker face and work hard because I have it better than he did. 

Chris: I definitely appreciate how special it is too achieve that level of success. To me, the song “Gangster’s Paradise”, the music video and even the movie “Dangerous Minds” did not age very well. This wasn’t an album I listened to all that much growing up, so in many ways this way my first time through it. It definitely inspired me to listen to more Coolio. While I may not be a big fan of this album, I am definitely a fan of Coolio.

Beastie Boys - "Paul's Boutique"

Nearly three years after the release of their wildly successful debut, “Licensed to Ill”, the Beastie Boys released “Paul’s Boutique” on July 25, 1989. After parting from Def Jam due to royalty disputes, the Beastie Boys joined Capitol Records, where they spent the rest of their career. Parting from Def Jam, also meant parting from legendary producer Rick Rubin but lucky for all of us, the Beastie Boys linked up with the Dust Brothers for the production on “Paul’s Boutique.” The beats on “Paul’s Boutique” are mosaics. The Dust Brothers sampled over 105 records on the album, 24 on “B-Boy Bouillabaisse” alone. The lyrical content is similar to that of “Licensed of Ill” and the Beastie Boys employ the same synchronous and sentence-finishing style they used on tracks like “Brass Monkey” throughout the entire album. “Paul’s Boutique” didn’t have the commercial success that their debut did but it was well received by critics and fellow musicians. In fact, Miles Davis even said that he never got tired of listening to it. 

Guest reviewer Mario (@majtheraj)'s first appearance on the blog

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Chris: Mario! Welcome to the blog, man! I’ve been wanting to review “Paul’s Boutique” for a while now and I couldn’t think of a person who would appreciate re-listening to and reviewing “Paul’s Boutique” more than you. To be transparent, “Paul’s Boutique” wasn’t an album I was very familiar with going into this review. I had heard tracks from the album here and there but I wasn’t well acquainted with the entire album. I was much more familiar with “Licensed to Ill”, “Check Your Head” and “Ill Communication.” What compelled me to want to listen to “Paul’s Boutique” was an interview with E.Z. Mike (from the Dust Brothers) that I recently read in an old issue of Wax Poetics. How familiar are you “Paul’s Boutique” and do you have any memories attached to listening to the album? 

Mario: Chris! Thanks so much for the invitation. I actually have a vivid memory attached to “Paul’s Boutique.” I considered myself to be somewhat of a Beastie Boys super-fan when I was younger. Like a lot of people I was simultaneously fascinated & confused by their ability to switch between punk, hip hop, and instrumental styles. I think most of us were familiar with the more mainstream albums that you mentioned, but for some reason I compartmentalized “Paul’s Boutique” as some sort of cult outlier album. The cover art even seemed a little different from the rest. I kind of realized I wasn’t hardcore if I didn’t do the proper full discography immersion. So, I gave it a listen and was completely blown away. It’s such a treat to make your way through that album on first listen. You keep discovering all these great little moments .. the lyrical references, the layered beats, the interludes .. I would rewind them over and over again just trying to understand what I was listening to. It seemed like there were somehow more and more of these moments as the album went on. The way it all builds up to “B-Boy Bouillabaisse” is so perfect. The album completely changed my whole idea of who the Beastie Boys were and what they were capable of. 

Chris: So the story goes, the Beastie Boys met the Dust Brothers at party out in LA. The Dust Brothers played them tape that they were intending to release as an instrumental album. The Beastie Boys loved what they heard and wanted to use it for their new album. The Dust Brothers used a four-track to layer their loops, which gave them multi-textured tracks you hear on “Paul’s Boutique”. The Dust Brothers offered to strip down the beats and make a little more basic like the songs they produced for Tone-Loc and Young MC but the Beastie Boys insisted on leaving them the way they were. What do you think of the production on “Paul’s Boutique” and where do you rank “Paul’s Boutique” in the Dust Brothers’ discography? 

Mario: It’s legendary. It’s easier to think of the Dust Brothers as collage artists rather than music producers. I would kill to learn how they chopped up all those samples and came up with the general structuring of the album. Considering that they drew from a hundred plus source tracks, it’s obvious they have this ridiculous ability to pull that special sauce out of most anything that they sample. One of the coolest things about the album is how perfectly the eclectic production style compliments the Beastie Boys woven rhyming style. The Beastie Boys also had this really great character rapping ability that they really took to another level on this album. Without “Paul’s Boutique” it makes you wonder how different the other albums could have sounded. Tangentially, it’s also crazy to think about how the album couldn’t have been made today. Aside from the staggering cost of the licensing fees, I think the album highlights this Wild West moment when artist’s weren’t as restricted by the copyright laws. For me personally, I think it’s easily the Dust Brothers’ best. 

Chris: I read in several places where Chuck D (from Public Enemy) said “the dirty secret among the Black hip hop community at the time of the release was that ‘Paul’s Boutique’ had the best beats.” I can’t think of a better endorsement than that. I, too, would have loved to be a fly on the wall during those sessions with the Dust Brothers. The marriage between the Dust Brothers’ production and the Beastie Boys rhymes is a match made in Hip Hop heaven. 

Chris: One track in particular that I wanted to get your opinion on was “Shadrach”. It’s a great example of the creative genius of the Dust Brothers, as there is a plethora of really funky elements (drums, horns, vocals and more drums) all pieced together from different sources. The lyrics on the songs are what interested me most though. The song references a story in the Book of Daniel in which three young men (Shadrach, Meshach and Abednego) are ordered to be thrown into a furnace by King Nebuchadnezzar for refusing to worship a golden idol. Shadrach, Meshach and Abednego came out of the fire unharmed. Stunned by what he saw, Nebuchadnezzar promoted the three to high positions within his office. I bring this story up because I see a parallel between Shadrach, Meshach and Abednego and the Beastie Boys. The Beastie Boys refused to “worship the golden idol” which would have been making another “Licensed to Ill” type album with Def Jam and instead deciding bet on themselves and their creative abilities. The outcome probably looked pretty bleak at first but I would say that leaving Def Jam for Capitol is probably the best decision the group ever made. What are your thoughts on the song “Shadrach” and what kind of career do you think the Beastie Boys would have had, had they stayed with Def Jam? 

Mario: That’s such a trip. I may not listen to it the same way now. They way it starts out with the hi hat and that female vocal is so catchy. The song itself has a similar quality to “Paul Revere” the way it’s loosely based on some sort of historical narrative. I think they were fond of adopting parts or narrative elements of some of these more well-known historical figures to imagine their own lyrical narrative. The track also happens to have one of my favorite references on the album .. “i’ve got more stories than J.D.’s got Salinger.” To be honest, I really hadn’t thought about how the biblical reference might be related to their music career, but now that you bring it up I think they would have been very different act had they stayed. Def Jam was going to keep doing what they did best, which was releasing hip hop albums. The Beastie Boys, while great hip-hop artists, really found their strength as more of a crossover group. I don’t get the sense that the Def Jam, even with Rick Rubin, would have gotten behind some of their albums that had some of those really amazing punk, jazz/funk, and instrumental influences. The Beastie Boys had a winning formula to make killer hip-hop albums with Def Jam, but I’m sure they wanted an outlet to explore all those different influences and styles. Their defection to Capitol makes complete sense. 

Beastie Boys – “Shadrach” 

 

Chris: I wanted to ask you a question about the Beastie Boys individually and if you thought that one of them had separated themselves from the others by this time but the more I listened to “Paul’s Boutique”, the more I realized what a ridiculous question that is. Not just because of their style but because I think this is a situation where the sum is greater than its parts. And not to turn this into a Bible study but back to the Book of Daniel for a second, Daniel 3:51 says “[t]hen the three with one voice praised and glorified and blessed God in the furnace.” “The three with one voice”, that verse, to me, defines the Beastie Boys and what makes them so great. I’m interested to hear your thoughts on that… 

Mario: I feel like when MCA passed you would hear about all these touching stories about how he was the creative glue that bonded them from the beginning. He may have been willing to take them to places creatively that they might not have gotten to otherwise. As they matured he had a really huge impact on their politics and activism especially. He was the driving force behind them starting the Tibetan Freedom Concert, which was a huge music event at the time. He also cofounded the film company Oscilloscope Laboratories . But you’re right, because their voices were so intertwined, it’s hard to separate the individual from the group. They all had contributing roles within the group, but the real strength of the Beastie Boys was always the trio. 

Chris: A lot of people like to compare “Paul’s Boutique” to the Beatles’ “Sgt. Pepper’s Lonely Hearts Club Band.” Which I can see because like the Beatles, they went to another place with that album, both conceptually and musically. The comparison though that I really enjoy is “Paul’s Boutique” to De La Soul’s “Buhloone Mindstate.” When you listen to “Buhloone Mindstate” it’s just so much different than “3 Feet High and Rising” and “De La Soul is Dead”, if you were expecting more of the same on “Buhloone Mindstate” you may not have appreciated it as much at the time but I’ve heard people say, and I actually feel the same way, that if you go back and listen to it, it’s actually some of their best work. If not, THE best. I have the same feeling about “Paul’s Boutique”. It’s not “Licensed to Ill” but it is so much more. How do you feel about the comparison “Sgt. Pepper’s” and my comparison to “Buhloone Mindstate”? 

Mario: I think a lot of groups have albums that encapsulate this kind of creative transformation. I can definitely see a parallel with The Beatles’ “Sgt. Pepper’s” and De La Soul’s “Buhloone Mindstate”. “Buhloone Mindstate” also happens to also be my favorite De La Soul album. Like the Dust Brother’s on “Paul’s Boutique”, you can see Prince Paul’s stamp all over “Buhloone Mindstate”. It has this off the wall manic energy that makes it so much fun to listen to. I think you can find that throughline in all of these albums really. They all have this zaniness about them. You definitely see that with “Sgt. Pepper’s”. I think the Beatles were inspired to venture deep into the horizon to find chase something new. Maybe that’s what you have to tap into when you try and do something completely different. I think all of them were willing to take some risks as they found their voices. If I was under the pressure to make the same album over and over I might do the same. 

 

Beastie Boys – “Hey Ladies” 

 Jeanette “Lady” Day – “Come Let Me Love You” 

Chris: There are so many dope songs on that album. My favorite is probably “B-Boy Bouillabaisse” because it’s basically a compilation of several really dope songs with these funky samples all within one track. It’s kind of like the Beatles’ medley on “Abbey Road” or Paul McCartney’s “Band on the Run”. Were there any tracks that stood out for you? 

Mario: Oh man. There are so many. I think that “B-Boy Bouillabaisse” is really the masterpiece of that album. Another of my favorites is “Shake Your Rump.” What other kind of song starts out with a crazy drum fill that transitions to a really funky beat? There’s also this really cool bong rip transition halfway through the track. “Hey Ladies” has a great vibe to it. It’s kind of a skirt chaser track. Dave Weigel, Washington Post reporter, said it best … The only time I want to think about Chuck Woolery is in this, one of the top five Beastie Boys couplets: “Tom Thumb, Tom Cushman or tomfoolery I'm dating women on TV with the help of Chuck Woolery..” “High Plains Drifter” is a really great one too. The track takes it’s name from the 1973 Clint Eastwood movie. They give the track a 90’s Hip Hop bass heavy Spaghetti Western feel. “5-Piece Chicken Dinner” has to be one of my favorite craziest non sequitur interludes ever. 

Beastie Boys – “B-Boy Bouillabaisse” 

Chris: So has “Paul’s Boutique” stood the test of time for you? 

Mario: Absolutely, the album was completely ahead of its time. When I listen to music now it all sounds so digital. Albums like “Paul’s Boutique” make me crave that organic analogue sound. There are some albums that are just so cool you wish you had made them yourself if you had the ability. I count “Paul’s Boutique” among those albums. 

Chris: I couldn’t agree more. Since I started listening to the album again, I haven’t been able to stop. In my mind, it’s perfect. One of the best compliments that you can pay an album is that you don’t feel the need to skip a track and that is definitely true of “Paul’s Boutique.” After listening to it again, several times at the point, I would have to say that it is one of my favorite albums of all-time.

Rob Base and DJ E-Z Rock - "It Takes Two"

Rob Base and DJ E-Z Rock released their studio debut “It Takes Two” on August 9, 1988 on Profile Records. Friends since the 5^th grade, the duo would go to sell over a million copies of “It Takes Two” both as an album and as a single. The album, as well as the single were pivotal in crossing Hip Hop music over into mainstream popular culture. Production was handled by Rob Base, DJ E-Z Rock, William Hamilton, Donald Dee Bowden, Thomas Dean and Teddy Riley. Rob Base, the only one to rap on the album, is a traditional emcee in the sense that the majority of his lyrical content consists of efforts to get the crowd hype and of course, the braggadocios rhymes which are a Hip Hop staple. After a short break up, the pair reunited in 1994 for another studio album (“Break of Dawn”) but it didn’t receive nearly as much fanfare as “It Takes Two” did. Most recently, Rob Base has still been touring as part of a 90s review and sadly, DJ E-Z Rock passed away in 2014 at age 46. Although their legacy only maybe tied to a couple of songs, Rob Base and DJ E-Z Rock had their impact on Popular music and how we hear it today.

Guest choice: Gary’s (@gardog66) first appearance on the blog

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Chris: “It Takes Two” was an important album for me growing up because listening to it was kind of my introduction into becoming a fan of Hip Hop music. The songs that really stick out from my childhood are “In the House” by the L.A. Dream Team, “Cinderfella” by Dana Dane, “I Can’t Wait” by Spyder-D, “Buffalo Gals” by Malcolm McLaren and of course “It Takes Two” by Rob Base and DJ E-Z Rock.  These are all songs/albums that my Aunt owned and played frequently when I was very young. These are the foundation of my Hip Hop fandom. Can you remember when you first heard “It Takes Two”? Why did you want to review the album “It Takes Two”?

Gary: For me it started with the Sugar Hill Gang’s “Rapper’s Delight”, which came out in 1979. I was just about to start High School when began. The 80’s was the best decade for Hip Hop by far. There were so many great songs and rappers. After “Rapper’s Delight” started the craze. You had groups and rappers like Grand Master Flash and the Furious Five with “The Message.” Run DMC, LL Cool J, Whodini, Slick Rick and so many more. Back to the question, the song was so iconic, that I can’t remember any other songs besides “It Takes Two” and “Joy and Pain.” I wanted to go back and give it a listen.

Chris: One thing I remember is that for at least 15 years until I finally saw the music video for “It Takes Two” on VH1 Soul, I thought Rob Base was DJ E-Z Rock and DJ E-Z Rock was Rob Base. “It Takes Two” is such an iconic song. In your opinion, what makes it so great?

Gary: MTV started in the early 80’s, after school we would go home and watch music videos. There were so many great songs dropping in the decade and music videos to go with the songs which made it even better.  By the time the late 80’s came around I was going to the clubs around the city and then the after parties, so many great memories. One thing that would happen every weekend is the DJ would play this song and the floor would get packed and people would get so hyped and happy and just dance. The song is so timeless, with such a great beat. If you were to play this song in your house today everyone regardless of age would smile and move to the beat. This song will change your mood to happiness instantly. 

Chris: I have the same memories from “It Takes Two” being played at house parties when I was a kid. There is just such a bolt of energy whenever that record comes on, you can’t fight it. Rob Base’s lyrics, EZ Rock’s beat, it was all on point. All the stars aligned for them on that track.

Rob Base and DJ EZ Rock – “It Takes Two”

Chris: There were rumors for a long time that Teddy Riley was behind the boards for the making of “It Takes Two” but those rumors were dispelled by Rob Base. Teddy Riley was involved with the album though. He’s responsible for the song “Crush”, which in my opinion, was their attempt to capitalize off the success of LL Cool J’s “I Need Love”. What did you think of the song “Crush”?

Gary: This one is easy. “I Need Love” could never be duplicated. Many have tried and many have failed. The song was so bad, it took me three tries to get thru it. I kept skipping ahead to the next song, it was so bad. SO BAD.

Chris: Hahaha it is really bad, isn’t it? And there is no question in my mind that they were trying to copy LL or even Slick Rick’s “Teenage Love.” What really makes me laugh is intro where he’s talking to who I’m assuming is DJ EZ Rock.

Rob Base and DJ EZ Rock – “Crush” (Produced by Teddy Riley)

LL Cool J – “I Need Love”

Chris: As a record collector, I really appreciated the samples that were used on this album. There were more than a few famous breaks (Jimmy Castor – “It’s Just Begun”, The Commodores – “Assembly Line”, ESG – “UFO”, Thin Lizzy - “Johnny The Fox”, and Lyn Collins – “Think About It” that were used on this album. What did you think of the production as whole on this album and did you have any favorite tracks outside of “It Takes Two”?

Gary: I think when “It Takes Two” came out and became such a big hit. They rushed the rest of the album while the song was still hot. My favorite songs are “It Takes Two” and “Joy and Pain”. The only other song I would listen to is “Times are Getting Ill” I found it to be in the same manner as Slick Rick’s “Children’s Story” and Dana Dane’s “Cinderfella” and “Nightmares”. Something I found interesting is “It Takes Two” was sampled over 180 times.

Rob Base and DJ EZ Rock – “Times are Getting Ill”

Chris: When you have such an impactful song like “It Takes Two” I think you’re bound to hear references from it in other places. Just that line “I wanna rock right now, I’m Rob Base and I came to get down, I’m not internationally known but I’m known to rock the microphone”, how many times have you heard some assemblance of that phrasing on a Hip Hop song. I can think a few right now, just off the top of my head.

What was interesting to me is that the popularity of “It Takes Two” actually brought a lot of renewed interest to Lyn Collins, who’s “Think (About It)” is the main sample in “It Takes Two.” She started out as a dancer for James Brown and then later sang and was produced by James Brown. “It Takes Two” is an exampling of the benefits of sampling and how it can benefit the originator. Another example, how many records do you think Etta James sold after FloRida released “Good Feeling”? I imagine it was quite a bit.

Lyn Collins – “Think (About It)”

Chris: “It Takes Two” went certified platinum (sold a million copies) as both an album and as a single, so it’s hard to argue with that but did you think that they made a mistake by putting “It Takes Two” as the first song on the album?

Gary: In most cases yes. But this album is so bad, after listening to the first 2 songs there is no reason to continue. If they were smart, they would have put “Times are Getting Ill” as the third song. That way I would not have to punish my ears thru the rest of the album. When you would purchase an album for a particular song. You would go thru the whole thing and always find a song that you liked better than the one you bought it for. Now I know why I did not remember this album; it is was SO BAD.

Chris: It’s not a very good album. If it were me, I would have put “Joy and Pain” and “It Takes Two” as the last two songs on the album. Imagine if you had the cassette though? Hahaha.

What is your impression of “It Takes Two” now after re-listening to it? Has it stood the test of time for you?

Gary: It is everything I remembered and more. First time I played it after we decided to review it. I was driving with the wife to Northern New Mexico. As soon as it started playing the wife says I remember this song and starts dancing. Such a great song you can listen to it alone at a BBQ, wedding dance or a sporting event. Just an iconic song. It certainly has stood the test of time. My question to you is will they be remembered as a one hit wonder?

Chris: The song “It Takes Two” certainly has stood the test of time. The really caught lightening in a bottle with that song. Will they be remembered as a one hit wonder? I mean, if you’re from my generation or your generation, I feel like you also know “Joy and Pain” but if they’d only be remembered for “It Takes Two”, what a song to be remember for?

Gary: Thanks for having me do this, I went to YouTube and started to listening and watching all the great songs from that decade. Brings back so many great memories.

Chris: Thank you for coming on and for picking “It Takes Two”, it brought back a lot of great memories for me as well.