As promised, some bonus material! I selected one track from each of my top 20 and made a youtube playlist. I’m aware T.I. is missing. Thank his label for making every single one of his videos either silent or not embeddable. I suppose 2003 was a different era of internet distro. In any case, enjoy…
As promised, here are the top 10 albums of the decade. Check it out, leave some feedback, and come back tomorrow for a special bonus installment.
10. J Dilla (Jay Dee) – DonutsWhile this album’s weight was increased by its release within days of its creator’s death, this instrumental collage would be a classic regardless of the circumstances. One of the greats of all time, Dilla used chopped up samples and dusty drums to make beats that were sometimes delicate and beautiful and at others pounding, cold and mechanical. Almost four years after his death, they continue to define the sound of Detroit’s underground scene. This album, jumping from one brief moment of bliss to the next, was an appropriate final statement for such a unique talent.
9. The Game – The DocumentaryThe Game’s debut album revealed some of the qualities that would make him both a standout and one of the biggest oddballs in hip hop this decade. On one hand, he is a gifted lyricist who stands up well to the large bill of marquee name rappers and producers on the album. On the other, he name drops and fawns over so many other rappers that he is at times corny and strange. Still, this album, made before his falling out with 50 Cent and Dr. Dre, was a superior effort.
8. T.I. – Trap MuzikProclaiming himself the king of the south, T.I. showed immense potential on his second album. Hardcore but polished enough for crossover success, T.I. took the usual set of dope boy/rapper cliches and managed to turn out an original and engaging set of songs. Paired with beats from David Banner, Jazze Pha, Kanye West and others, perhaps the best production he ever received on a whole album, this record set a standard T.I. has yet to improve on.
7. 50 Cent – Get Rich Or Die Tryin’
6. Outkast – StankoniaThe follow-up to the masterpiece, Aquemini, this album did not disappoint. With a playful, experimental spirit, this disc was, in retrospect, an interesting bridge between the former and 2003′s landmark Speakerboxx/The Love Below. Big Boi and Dre took on such subjects as illegitimate pregnancy, American excess, suicide and drug use in a variety of ways that made this record constantly fresh and engaging. Despite weighty subject matter on much of the album, they kept the overall tone light enough to be listenable, helped by inventive rhyming, diverse experimental production, and possibly the most clever set of skits on a rap album ever. BREAK!
5. Clipse – Hell Hath No FuryThe long-delayed sophomore album from brother duo, Clipse, was nothing if not proof that there is room for originality in even the most well-trodden hip-hop subjects. This cold, neurotic album was cocaine-obsessed, but even their boasting and talk of material wealth were tempered constantly by a sense of impending doom. A stripped down and spaced out set of menacing tracks from The Neptunes was one of the most cohesive and impactful of the decade. With equal parts of contrition, ambition, unapologetic malice (no pun intended) and paranoia, these skilled rappers made a complex and brilliant record.
4. Jay-Z – The BlueprintIf we had any doubts as to who was running this rap ish in 2001, the second track of this album cleared them up quickly. Hov manhandled the microphone and did not let go the entire record. Production led by Timbaland, Just Blaze and Kanye West (in the start of what would become his meteoric rise in hip-hop) offset the classic verses to make an album that showed Jay on top of all he surveyed. Tracks like “Girls, Girls, Girls,” “H.O.V.A. (Izzo),” and “Heart Of The City” make this an enduring classic of early 2000′s rap.
3. Ghostface Killah – Supreme ClienteleIn what would turn out to be the last classic Wu-Tang album, Ghostface proved once again that he could possibly be the most engaging storyteller in hip hop even if listeners didn’t know what the hell he was talking about half the time. With the clan’s best ear for beats, Starks selected some gems from a group of RZA disciples and others. A solid string of all-in-the-family guest appearances and intricate, if confusing, rhymes from Starks showed, one last time, what the Wu-Tang was capable of at their best.
2. Outkast – Speakerboxxx/The Love BelowWhile the scope of this album goes a bit beyond “hip-hop,” I remember what section of the record store this was in when I bought it. Experimental albums are often positioned as ahead-of-their-time only to turn out to still suck years later, but this album truly did get better with age. The split album concept confused fans when it came out, and even in 2009, many still haven’t fully processed what it meant creatively to the duo on this album or since. Both albums were experimental in their own way, Big Boi with a unique synthesized funk that stayed firmly rooted in rap and 3000 assuming the persona of a more playful Prince. Each showcased their talents brilliantly and together they helped pave the way for acceptance of experimentation in rap, R&B and funk in the latter part of the decade.
Kanye West – College Dropout
Normally this time of year, I post a top 10 list of the year. This being the end of the decade, however, I thought it was a good chance to take a look back at the last ten years in rap and some of my favorites. This is part one of a two-part review. Look for the finale in the next day or two. And now, without further ado, my choices for the top 20 of the 2000′s:
20. Devin The Dude – Just Tryin’ Ta LiveHouston emcee Devin the dude has been one of the great storytellers in hip hop since his late 1990′s debut. He hit his peak in this 2002 release, blending his tongue-in-cheek tales of sexual misadventures and the woes of the common man with a suite of production truly worthy of them. Syrupy smooth and lowdown, the beats glide under Devin’s easy singsong drawl. Tracks like “Fa Sho” and “Doobie Ashtray” cement this album as a true Texas classic.
19. Young Jeezy – The RecessionThe Snowman’s third album found him trading in a little of the hustle and stunt mantras that filled his Thug Movitation albums for a slightly more sober look at the economic recession. Jeezy delivers insights in character, little nuggets of truth filtered through his simplistic flow and hollered over banging production. The result is an album which plays like a report from the ground level, without of the pretentiousness that accompanies other artists’ looks at the economy. If not a masterful work of art, this album is definitely a cultural document of its time.
18. Snoop Dogg – R&G (Rhythm & Gangsta): The MasterpieceAfter a strange trip through Master P’s No Limit family, Snoop’s Paid Da Cost To Be Tha Boss showed that Snoop was still a credible force in post-2000 hip hop. It took a blockbuster single to shove him all the way back into the spotlight though, and that came in the form of the Neptunes-laced “Drop It Like It’s Hot.” Around that single, however, was a great album that dabbled in various styles from hardcore to dance-rap and pulled them all off well. With this release, Snoop proved that his Cali drawl was still as relevant as ever in rap.
17. Sean Price – Monkey BarzOne of the more random releases of the new millennium, this album single-handedly spawned a Boot Camp Clik revival in the last half of the decade. Left for dead by hip hop somewhere in the 1990′s, Price, also known as Ruck from Heltah Skeltah, came back re-branded as a hardcore rap Rodney Dangerfield. Proclaiming himself “the brokest rapper you know,” Price put out a set of truly hilarious, but still menacing tracks filled with ridiculous one-liners. With gritty soul production coming partially from the Justus League’s Khrysis and 9th Wonder, this offbeat album was a great surprise.
16. Jaylib – Champion SoundA collaboration of two mad geniuses of underground hip hop, Champion Sound is off-kilter perfection. Producer-emcees Jay Dee (aka J Dilla) and Madlib exchanged beats and rhymes back and forth across the country to cobble together this smoked out symphony. The low-fi beats jump illogically from one sample to the next and the rhymes are sometimes elementary and sometimes almost senseless. Inexplicably though, it all fits perfectly together, and this has proved to be an album with serious staying power over the years.
15. Kanye West – Late RegistrationKanye West’s second album updated the formula that made his debut, College Dropout, so successful and proved that his star would last for years to come. With a little extra polish from rock producer John Brione, Late Registration was still a soulful affair, but one that moved away from West’s signature chipmunk sound and was more dense and layered. West maintained his “Benz and backpack” persona and brought in several very effective guest spots to pick up any slack his comical bragging left. Not a game changer like College Dropout, this was still one of the best crafted records of the decade.
14. Ludacris – Word Of MoufImperfect when taken as a total album, this is still one of the best collections of rap singles of this decade. Atlanta rapper Ludacris had a major commercial breakthrough with this record, led by radio and video titans like “Area Codes,” “Move Bitch” and “Rollout (My Business).” Production by Timbaland, Organized Noize and others paired well with Luda’s edgy flow and one-liners. Some of the album cuts lacked the punch of the singles, but this was a landmark album for a talented artist.
13. Deltron 3030 – S/TThis collaboration between Dan The Automator and Heiroglyphics’ Del Tha Funkee Homosapien is a futuristic sci-fi concept album that is every bit as dorky as it sounds. Del drops acrobatic rhymes that fuse SAT vocabulary and Star Trek buzzwords. Dan’s rich, sprawling, cinematic beats are some of the greatest of this era of hip hop. This is admittedly not an album with mass appeal, but it does not try to be. It is, however, hugely rewarding for those who can push their coolness aside for a moment.
12. Lil’ Wayne – Tha Carter IIThis album marks the apex of Weezy’s development of an artist, his matured rhyme style fit into the most balanced set of songs he has yet put together. Coming on the heels of the Mannie Fresh split from Cash Money, he proved that he can make quality music with other producers. Singles like “Fireman” and “Hustler Music” as well as excellent album cuts such as “Receipt” and “Mo Fire” make this a very good album. In the years since this release, Wayne has shown a lot of potential and at times brilliance, but he has yet to match this record in consistency.
11. Jay-Z – The Black AlbumThis album was a retrospective of a career that turned out not to be over, but it was still powerful. Hov’s rhymes mixed with beats by Kanye West, The Neptunes, Rick Rubin and others made several classic tracks. The theme of looking back on possibly the most successful career in rap history pulled the album into a cohesive whole. Independent of any bait and switch, this album is one of the best of the decade.
So ends the first half of my picks. Give me some feedback via the comments and check back soon for the finale.
S/R, 2009
Rated: 3.5/5
Unlike Chuck D, rapper Savant happily proclaims that he rhymes for the sake of riddlin’ on the first track of his debut EP. The first half of the album definitely bears this out, filled mostly with witty punchlines and verbal flash. As the album goes on, however, he approaches some more diverse themes that serve to balance the album a bit. Together, they make it clear that this talented emcee’s debut was worth whatever delays it endured.
Coming from Tucson, AZ by way of Chicago, Savant raps with a generally complex flow that favors dense bars, but stays in the pocket of the beat nicely. While it is not instantly recognizable, his voice is strong and clear, and he uses it well. Topically, the first four tracks of the EP stick more or less to rappin’ about rappin’. He is skilled at this style, and displays enough verbal gymnastics to back up his boasts, but as the album goes on, it all starts to run together for the listener. Thankfully, he changes course with the fifth track, the breezy summertime jam, Bottom to the Top, and does not look back for the rest of the EP. These last four tracks are each on a specific topic, and while they lose a little of the speed and flash of the first tracks, they are all well-written and engaging. On Really Don’t Think, an examination of the ways in which male-female relations break down:
…And I’m tryin’ to understand just what the fuck happened
Why standards for marriage are panned and crash landed
And how the hell Hollywood soured what was established
As the most beautiful thing that mankind had ever been granted
Second to life itself
But understand that no one’s built to spend life by themselves
Stuck in a private hell because you strive for wealth
And put yourself above all else and love is dispelled
Behind the boards are different producers for each track. Starting with an RJD2-dominated track, the rest of the album uses some obscure names, but all are good, and the whole is cohesive. The overall aesthetic is based in soul samples, and has a throwback feel to it. My favorite beat is Montana Macks’ You Know, a lilting, chopped up guitar and string track that has a very cool sound but weaves tension in and out to keep it interesting. Another stand out on the lighter end of the spectrum is Illest You’ve Never Heard, featuring wah pedal guitars and smooth vocals weaving over a sparse backdrop of rimshots and hi hats. Perfect Profession hits a little harder, with soulful horns and crunchier percussion. Beats are a major strong point on this album.
Overall, this project is not perfect, even within its short EP form. Still, all the parts are there, they just need some minor tweaks to realize their potential as a whole. Savant is clearly talented and versatile, and he has an ear for beats. For a first effort, this is a good one, and Savant is someone to keep an ear out for.
Track Listing:
You Know f. Rich Jones & Kasparov
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Download Savant of Rarebreed – Delayed Entry EP
Def Jam, 2009
Rated: 3.5/5
In Hip Hop, as in life, time marches on. Generations of stylistic movements are measured in individual years, and next-big-things become has-beens in less time than it takes to release consecutive albums. Still, like alligators or sharks, some acts seem to defy time, living fossils of eras gone by that still manage to be relevant year after year. Meth & Red are certainly beloved by their audience, but their respective transitions to elder statesmen of rap haven’t been completely smooth. Method Man never quite recaptured his mid-90′s magic with subesquent releases in his Tical series, and while Redman has fared slightly better in the quality department, his output has been sporadic at best in the last few years. With that said, this album ambitiously attempts to pick up almost exactly where the first Blackout! left off. Could they, collectively, push on unchanged, and still make passionate, high quality hip hop in the same mold they used over a decade ago? Thankfully, yes.
On the mic, Mef & Red have changed almost exactly zero since they dropped, and that’s just fine. The pop culture references have been updated, and a few new tricks have entered the reportoire, but it is still the same instantly recognizable pass-the-mic dynamic, with all the standoffish boasting and flatly delivered punchlines. If you were expecting a lot of thematic diversity, you apparently haven’t ever heard a Method Man or Redman record. They do a few things exceptionally well, and stay more or less in their lane for the entire set. They have not lost a step in all this time, though, and still have snappy, energetic delivery as they smugly drop punchline after punchline, and continue to puff on weed. Guest appearances, from Bun B to Keith Murray, all add to the album, but the Raekwon/Ghostface feature, “Four Minutes To Lockdown,” is the best of the bunch. True, Iron Lung & Doc haven’t expanded their reportoire in all these years, but they still make it work, and that is commendable.
Production on the album bears similarities to the first Blackout!, but it is overall not quite as dark or low-fi. RZA’s hand is notably missing in this regard. Still, chunky underground bangers abound, and many of them are quite good. “Errybody Scream” and “Dangerous Mcee’s” fall into this category, rocking grimily along as Meth & Red growl over them. Funky offbeat soul, showing Red’s influence, makes a few appearances as well, the best example being the wah wah guitar, vibes, and flutes on “Father’s Day”. Pete Rock laces the first single, “Ayo,” with some soul as well, and it is one of the better cuts on the album for it. Something brand new for the pair was the southern-fried “City Lights,” a Bun B feature. Using a Pimp C vocal sample for the hook, they manage to pull it off perfectly, and give a slowed down swagger to the dark beat. They even flirt briefly with the most cringe-inducing stunt in current hip hop, autotune, and manage to make that an asset too, if only in a small dose. Still, there is no “Blackout” or “Rockwilder,” and that is the one way in which the original Blackout! is clearly superior to this album.
Meth & Red managed to dust off their old formula, and found that happily, it still works. They have successfully proven themselves living hip hop fossils from the 1990′s and seem very content to have done so. The album lacks a standout track (or tracks) to take it to classic status, but it is a very solid set, and any Method Man & Redman fans would be remiss not to add this to their collection.
Method Man & Redman | Dis Iz 4 All My Smokers
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Interdependent Media, 2009
Rated: 3.5/5
It’s been almost a decade since Little Brother more or less singlehandedly flipped the script on hip hop imagery, and created a cult following for rapping about the everyday life of the unsigned emcee. Drawing from the more frank stylings of acts like Common and the Native Tongues collective, they embodied the IT worker who kicks raps in his closet on his day off and the beatmaker who has to balance taking time to hone his skills against having to sell mixtapes in the streets and still somehow keep the lights on. Apparently there are more quite a few of us (I’ll happily include myself in this category), and those who sympathize, because they spawned a whole subgenre of underground hip hop.
Into this fray, stepped Tanya Morgan, in the mid-2000′s. Initially an internet-facilitated partnership between Cincinnati, OH emcees Donwill and Ilyas and Brooklyn, NY producer/emcee Von Pea, TM generated a loyal following by smartly using the internet even as social networking and online promotional tactics were still in development. They made a name for themselves as fun, lighthearted rappers for the masses, with breezy beats and a playful sense of humor that made them relatable to a lot of hip hop fans put off by the materialistic fantasy of mainstream hip hop. This album, which follows up their Moonlighting LP on Loud Minority, now Interdependent, does not change that formula much, but it does refine it. The beats overall sound higher quality and better mixed, and the rappers have continued to develop their craft.
On the mic, there is nothing powerful about this trio. They all have relatively thin voices that are more Q-Tip than Busta Rhymes. As…Donwill…Ilyas…one of them alludes to, they are very hard to tell apart on the mic which can be a detriment, but it also speaks to a common high level of skill and a common purpose. Topically, they are fairly diverse. Their style is very calibrated toward keeping it real by their own definition, though, and they explore life through the lens of a late 20- or early 30-something working class man. A lot of the most expressive material is about rapping and the lifestyle it has created for them. On “Plan B”: Got a degree, got grown, got a home, got a deck/Got mad fulfillin’ work I ain’t go to school for…Saved up enough to give it a shot, make it or not/hit the job with 2 weeks notice and then I bounced. Unlike the reflective tone of this track, “Don’t U Holla” releases up pent up anger at shifty promoters that every rap group has to put up with on the way to the top. Other tracks are more about life in general, and mostly warm and endearing. “Never Enough” is probably the best of these tracks, playing with the idea of love. Then, there’s those inevitable boasting tracks, two standouts being the posse cut “Never 2ndary” and the off-the-cuff “All Eye Need”: Ayo hold up, just chill, don’t rush me man/While I grope the groupies and touch my fans. The beats match the light, fun nature of the rhymes
Beats on this album are, in general, fluid and jazzy, supplied largely by Von Pea (as The Beatmaker) and Brick Beats. The texture of the beats is very uniform, and while individually, most are good, they can run together and become monotonous as the album goes on. The few stylistic departures, like Aeon’s pensive “She’s Gone” are a welcome rest. The beats are decent, but I would not call them the standout feature of the album.
The final element that I wish to examine is the entertainment value of the album. As anyone who has listened to an overly earnest emcee’s snoozefest of an album can tell you, “regular guy” rap can go awry easily. Rappers can get so caught up in talking about being broke and making a point of being respectful of women that they lose sight of the fact that hip hop must be pleasurable to listen to, or it becomes work as opposed to entertainment. The fact that he is such a genius at entertaining is why Little Brother’s Phonte continues to set the standard for the genre he co-created. Thankfully, Tanya Morgan understands this, and keeps things fun and funny to listen to, on the mic as well as with the album’s skits. The concept of tying together an album with radio station break skits is not an original one, but they execute it well. Stories of an aging one-hit-wonder group performing their hit 15 times in a row, and a thrown-together benefit event for the failing local record store are pretty entertaining and add some replay value. There are also misses though, too, moments where they seem to be reaching for a funny idea and simply miss the mark. They’re not Phonte, but then, no one else is.
Overall, this is a good album. These guys are skilled, and just as important, genuinely likeable on the mic. They have a great ability to cast themselves as the underdogs everyone can pull for. It is not a perfect album, with some lack of variety and failed attempts at humor, but the good more than makes up for the bad. I definitely recommend you book a trip to Brooklynati.
Tanya Morgan | Plan B
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Tanya Morgan | Alleye Need
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Self-Released, 2009
Rated: 4.5 out of 5
Southbound is something of an anomaly in rap music. The Caucasoid brother duo of Lowkey and Sandman (not to be confused with the former Re-Up Gang affiliate) straddle fine lines with their whole style. Hood but articulate. Over-the-top but nuanced. Straight-faced but funny. They do not fit easily into the boxes hip hop critics and fans like to paint within the genre. They don’t spit the hedonistic, materialistic raps that many of their peers do, but neither do they make an obvious effort to distance themselves from that in favor of “real hip hop” or whatever the rapping-about-rapping set likes to claim these days. They offer an authentic, objective look at street life that never strains for credibility or plays to obvious clichés. This album is a 10-track EP in advance of their second album, Vice Verses. This is no throw-away advance record, though, and both obviously have a lot to say.
On the mic, both members have a fairly flat delivery. They tend to pack bars full of syllables, often weaving double-time and triplet flows in with more straight-ahead delivery. They never over-do it though, avoiding awkward lines and rhymes that do not end on time. Like other brother groups (Clipse comes to mind), they can be hard to tell apart, but that just means a constant high level of quality, in this case. Subject matter ranges from personal turmoil to societal ills to clowning, but they never break their stoic character. This makes it necessary to listen closely, because there are a lot of intricate lines stuck in there, often vivid and moving, sometimes hilarious.
On “All Alone,” there is an intense discussion of the miscarriage of an unborn child. “Money Don’t Come” uses Barack Obama speeches and examines their own personal struggles and those of society. For all the heavy material, though, there are moments of straight comedy. Italia Blue goes off on a siddity fine girl turned pornstar (did they really know Italia Blue?). On “No Swagger”: Say look I’m sorry for yellin’/I’m just mad that Vice Verses ain’t out yet/But Lil’ Wayne just dropped Tha Carter 47/What the hell is the difference besides…you know/Talent faith and persistence, but those don’t matter, right? In today’s hip hop landscape, everyone from people who were industry heavyweights in the 1980’s to 19 year olds recording tracks in their bedrooms angrily declares that the game is rigged. It is refreshing to hear even a joking assertion that maybe the big bad industry isn’t the only barrier to success. “Sex In Da Morning” is exactly what it sounds like, a light homage to the best way to start a day, vivid and slick. Raps this varied require an equally diverse suite of beats.
The entire album was produced by Matt Schadd. It has a relatively restrained set of beats, sometimes jazzy, sometimes soulful, sometimes heavy and ominous. There is nothing very big and theatrical…and none of these beats are likely to find their way into the club. They match the raps perfectly, though. “Italia Blue” recycles the Galt McDermott sample from Busta Rhymes’ “Woo Ha,” but this flip uses a much lighter hand, more fitting the comedic story raps than Busta’s hollering. “Gowin’ Hard (Southside Chant)” is a mid-tempo track with energy coming from a slinky bassline and choppy bell sounds. On the more ponderous side is “All Alone,” with plodding organs and atonal bells. There is nothing to blow the listener away in the set, but it is all solid, and very appropriate for the raps.
In short, with an EP like this, I can’t wait for the full-length album to come out. Still not a marquee name in Austin, Southbound is nevertheless one of the best acts this town has. This EP provides an excellent opportunity for the uninitiated to get on board, because I foresee big things ahead for these guys, if they continue to put in work. I definitely recommend picking up this album.
Seasons Change f. Reggie Coby
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Sex In Da Morning
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BIG TONE – THE ART OF INK
Tres, 2009
Rated: 4 out of 5
This is the debut solo album from Detroit producer/emcee, Big Tone. Over 12 self-produced tracks, he lays down an enjoyable collection of rhymes on a bed of rich, soulful backdrops. Tone introduces the album as a tribute to the uses of ink, both in tattooing, and rhyme writing. While the tattoo metaphor doesn’t get much play after the first track, he certainly shines a lens on the rap game, and those creating rhymes.
As an emcee, Big Tone has a pretty accessible flow, and a strong voice. His phrasing clearly shows an influence from fellow Detroiter, Elzhi of Slum Village, with similar intonation and at times, rhyme structure. He brings an original element to the table though, and thankfully avoids the trap of trying to fit too many syllables into a bar, into which Elzhi sometimes falls. The overall feel of the tracks varies, sometimes celebratory, and sometimes very laid back and self-satisfied. There are certainly moments of doubt and tension, though, that help make the album more three-dimensional. On Scapegoat: “Slight society don’t respect us/Nothing more than the subject of a Cosby lecture/But when I’m on the block and stressed/Cause check-to-check ain’t stoppin’ them collectors from acknowledgin’ my debt.” Big Tone is a tight rapper, but the talent doesn’t end there.
Production on this album is nice start-to-finish. In Detroit hip hop tradition, the primary engine of the music is soul samples. This production has a fuller, rounder, sweeter sound than some of the work of Detroit underground mainstays like Black Milk, however. Some of the beats are hard-hitting and high-energy. Skin Deep features chopped up strings and and filtered vocals swirling insistently around a drum loop with a thunderous snare. The uptempo Business has snare rolls and a wah-wah guitar loop. You’ll be lucky if you can limit yourself to just head nodding while listening to it. On the opposite end of the spectrum are songs like the silky, relaxed groove of The Look. With a chopped up and filtered sample of standard, The Look of Love forming the foundation for a track with lazily strummng guitar, it compares favorably to tracks by another one of my favorite producers, Cincinnati’s Fat Jon. Even with very capable rhyming and appearances by other rappers and singers, I have to say that the beats are the true strength of an album with only one major weakness.
The only thing that frustrates me about The Art of Ink is how short it is. Clocking in at only 38 minutes, with a couple minutes of instrumental filler, this album is a throwback to the days of 12″ LP’s. It is a hair too long to call it an EP, but I have a hard time thinking of anything under 45 minutes or so in length as an album, and in many cases, an hour or more is perfectly fine. This album certainly could’ve sustained several more tracks of the same quality, and it is a bit of a disappointment that it ends as quickly as it does. Still, the album is solid start-to-finish, and there is something to be said for that. Overall, it is definitely a recommended listen, and I look forward to longer projects from Big Tone in the future.
Audio from two tracks can be found here.
After a few month wait from his last installment of the Hip Hop, Soccer, & Comix mixtape series, Austin rapper Global74 returns with his second full-length album, The New Eugenix. Those familiar with Global’s past work will be used to the mystical symbols on the cover and the sometimes ironic, sometimes almost paranoid rapping style he brings on the mic. From government conspiracies to the destruction of the planet, his raps give a unique view of the world. He has a wide range and a skill for rhyming that keep it from being just tinfoil hat rap, however. Production is handled by a few local producers, the most notable contributions by Alpha 2020 (a.k.a. Ike of Mike &…). I also contributed a track years ago that ended up on this project. More on that next week. For now, enjoy the 2020 production, Raining, and holla at Global on myspace or in the streets to cop the album.
Global74 – Raining (prod. by Alpha 2020)
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In 2009, what differentiates a “self-released album” from a “mixtape”? Aside from being a good discussion question, it is also making me wonder what to call this project from Austin, TX rapper, Phranchyze. Classification aside, though, this is the first release from Phranchyze in a minute, and he does not disappoint.
Phran is a tall, lanky cat with a mic persona to match. He has an oversized, cocky style, that is still goofy, and just a bit nerdy. It is hard to balance those attributes without coming off as trying too hard, but with a rock solid flow, Phranchyze does it. A lot of the material on this album is straight up bragging, but he keeps it varied enough that it doesn’t sound like a solid hour of “rapping about rapping.” On The One:
I always rush, I never wait
Life’s been good, but never great
I’m a heavyweight, you a featherweight
Nevermind, you a neverweight
A neverweight is the opposite
Of a nigga that’s real and never hates
Never racin’ and never placin’
So their time, they forever waste
Phran takes on a few more topical songs though too. Pimp Tite is a reflection on the management side of the world’s oldest profession, and Love Me Back is an ode to ATX.
Production on the album is uncredited, but it is varied. A lot of it is synth-based, but there are a few samples in there. He and partner in crime, Zeale32, jack a Lil’ Wayne vocal sample for Three Hundred and Sixty Freestyle. Overall, production is decent. The most notable beat is the big, nasty, dissonant production on Customs, which sounds like something out of the Chicago hipster hop scene.
Phranchyze did a good job keeping this album (mixtape?) fresh, and I definitely definitely recommend giving a listen to this album errybody loves to hate. He is selling it directly via paypal on Myspace.
Phranchyze – Pimp Tite
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