Get To Know H.E.R.

We’ve now come to the third album in our tour of A Tribe Called Quest, and the third of which is recognized as a bonafide classic. The name for this album, as explained in one of the interludes, is derived from the fact that they listen to most of their music at midnight and that they maraud for ears. People’s and The Low End Theory, while fantastic albums, weren’t exactly unarguable classics in my eyes (most people may disagree), so the point of today’s review is to see if their third “classic” will be able to hold up to those golden standards.

The Midnight Marauders Tour Guide, serves as the album’s intro and introduces the album to us as a sort of program that we are being led through. This woman will show up time and again after tracks, much in the same way Jarobi did on People’s except fortunately for us, these interludes are actually pretty interesting and most importantly, they’re short. As soon as the introduction is done, the
album jumps right into the Steve Biko (Stir It Up), the horns come in, and my headstarts bobbing. Phife and Tip trade verse after verse after verse and I’m effectively convinced that this is a great first actual song. The next song, Award Tour, features Trugoy of the fellow Native Tongue members De La Soul, and is one hell of a track. At first, I was sort of disappointed that Trugoy only got to do the hook on this, but soon I realized this track just fucking rocks either way. This makes it even more surprising that 8 Million Stories, the Phife solo track, holds its own despite being sequenced after it. The next track up is Sucka Nigga, in which Q-Tip discusses how he doesn’t like it when people use the word as a term of endearment (although he did so himself at Rock The Bells). I actually like this song a lot, although it really didn’t need to be a Tip solo joint, considering that he spits the same damn verse twice. Midnight  is yet another Tip solo venture (which really makes me wish they had a Phife verse on the last track) and it continues the trend of quality found thus far. However, I do skip it from time to time, not because it’s a bad track, but because usually I can’t wait for the next four tracks.

The next four tracks on this album are what I consider to be it’s centerpiece. It’s four excellent songs that just blew my mind the first time I heard them. First up is We Can Get Down, which is infectious as hell. However, this track pales in comparison to what comes next, because up next is Electrical Relaxation, which I’m totally convinced is one of the greatest tracks released in any genre ever. Seriously, if you’ve never listened to any Tribe song in your life, do yourself a favor and youtube this shit now. Anyways, following my personal favorite Tribe song of all time is no small task but Clap Your Hands is a great track that does the job correct. The beat changes up in subtle ways throughout the verses and the hook, and it’s really one hell of a listen. The next track features Busta Rhymes but don’t expect any of the ridiculousness that was found on Scenario. On Oh My God, Busta’s role has been reduced to simply the hook (probably to avoid any show stealing), but I have to say, there couldn’t have been a better choice for the job. Phife drops some of the best lines of his career and overall the song is pure unadulterated quality hip hop.

Keep It Rollin is a track that really suffers from the sequencing. It’s a good track, but it’s nowhere near as good as the four monsters that preceed it and because of that, for the longest time, I’ve skipped it. However, one day I had my iPod on shuffle when this song came on, and that day I decided to actually give it a proper listen and I realized that it was actually a great song, complete with a Large Pro guest appearance. The next song, The Chase Pt II, however would probably sound average pretty much wherever you sequence it. I think it’s just an alright song, and even though your interlude will tell you that it’s the end of the Midnight Marauders program, it’s not the last track and thank God for that. Or else we never would’ve got Lyrics To Go, which is a testament to great producing. That high note that you’re hearing in the background all throughout is actually a vocal sample from Inside My Love. It’s haunting and creates the perfect soundscape. The last track is God Lives Through and it samples Oh My God’s chorus, but that’s really the only thing it has in common with that song. Well, other than the fact that both songs are superb. God Lives Through is a monstrous track that ends the whole album well with 1 sick verse each from Phife and Tip.

The Good: Steve Biko, Award Tour, 8 Million Problems, Sucka Nigga, Midnight, We Can Get Down, Electrical Relaxation, Clap Your Hands, Oh My God, Keep It Rollin, Lyrics To Go, God Lives Through

The Solid: Midnight Marauders Tour Guide, The Chase Pt II

The Bad: N/A

While The Low End Theory was a practice in minimalism, Midnight Marauders is a whole new different beast, as the production on this is simply in your face, kick ass, high energy jazz. I honestly have no qualms with labeling this album as a no brainer classic. It is without a doubt one of the greatest hip hop albums I’ve ever heard and probably will ever hear in my life and you should be halfway out your door on your way to the nearest Best Buy to pick this up by the time you finish reading this sentence.

My A Tribe Called Quest Discography Ranking Thus Far

1. Midnight Marauders
2. The Low End Theory
3. People’s Instinctive Travels And The Paths Of Rhythm

Note: From this point on, I’ve decided to stop giving out number scores, since they really are very ambiguous and arbitrary. I’ll just give you my final thoughts of whether this album is worth your time or not, and my ranking of the album in question compared with other albums from the same artist’s or group’s discography I’ve reviewed previously.

Moving right along, we reach A Tribe Called Quest’s second album, The Low End Theory. The album takes a slightly darker production than Tribe’s debut album and finds Tribe one member named Jarobi short. Just as well because by this time our black horse Phife Dawg had finally given up dreams of playing professional sports and had stepped his rap game way the fuck up. As such, although Q-Tip was still rightfully the main driving force of the rapping, Phife was actually featured on more than a mere three tracks making Low End Theory seem more like a group album than the Q-Tip solo People’s Instinctive Travels and the Paths of Rhythm had been.

The Low End Theory upon it’s release, was hailed as a classic. Hell, it still is hailed as a classic. You go to any respected hip hop circle and drop the name and heads go crazy. It’s on a whole bunch of “best of lists” including Rolling Stones’ (yes the same Rolling Stones that shitted on Tribe’s last album) The 500 Greatest Albums of All Time and their Top 25 Hiphop albums. And of course it received the perfect score of 5 mics from the Source Magazine (mind you this was back when The Source was still respected. Before they started giving out 5 mics to Lil Kim of all people.) So, when it’s all said and done, does the album live up to it’s reputation? Well, that’s what we’re about to find out.

Well, there’s no crying baby intro on this album, as Excursions comes on and Tip rhymes over a sick bass line. A great track and a great start to this album. Then, a Tribe classic, Buggin Out, kicks in and Phife spits a verse that’s heads above any of the three verses he put out on People’s. The progress Phife makes over the span of the first three albums is actually pretty amazing. Guess that’s what happens when you spend all your time in a studio with hip hop legends. But more on the song. Another minimalist beat but that’s not a complaint. In fact, the beat works very well and the two emcees do it more than enough justice. Afterwards is Rap Promoter, which is a decent enough song to keep things moving.

The next song, Butter, may come as somewhat of a surprise because it’s a Phife Dawg solo track. Tip is found nowhere on this track except on the hook, and what’s even more surprising the first time around is that it’s actually a pretty good song. A lot of people seem to regard Phife as just that other emcee, but in actuality he had some sick verses throughout his career, and on the next album has some of my favorites from Tribe. Anyways, the next track is a Q-Tip solo as apparent from the name, Verses From The Abstract, and it should come as no surprise. Show Business which features Sadat X and Lord Jamar of Brand Nubian and producer/rapper Diamond D sounds out of place as hell on this minimalist album, but the energy brought onto the track makes it so good that I don’t care. Another thing I find myself not caring about much is the next track, Vibes and Stuff. It’s always been the one track that I never could bring myself to fully listen to and I don’t plan to change that any time soon.

The Infamous Date Rape has a strange subject but the song comes off alright enough (remember Ham N Eggs?). It’s at least good enough to warrant a couple of listens although you may find yourself skipping it on later listens. The next song, Check The Rhime introduced the infamous Industry Rule #4080 (record company people are shaddyyyy) and also got me hooked onto Tribe in the first place. Tip and Phife tag team and trade rhymes with each other and it all results in one kick ass song. Everything Is Fair is another alright song, but it doesn’t really stand out next to the rest of the album (although to be fair this is a pretty damn good album). At least the next track is great. Apparently Pete Rock produced the original beat for Jazz (We’ve Got), and honestly I don’t know if that’s true or not. All I know is you’re going to love this song.

Skypager is another song that isn’t horrible, but I just don’t really have the urge to listen to. Probably because the next track, What, is a lot better. It’s a strange song, to be sure, but it’s quite enjoyable and addicting. Still, no track could prepare for our final song, Scenario. Just when you thought that Check The Rhime would be safe as far as best song on this album goes, this monster of a posse cut comes out of nowhere and absolutely rips things up. Seriously, from the first verse (which just happens to be one of my favorite Phife verses ever) all the way to the last, Busta’s legendary lyrical outburst, this song kicks so much ass, it’s unbelievable. It’s an excellent finish to the whole thing.

The Good: Excursions, Buggin’ Out, Rap Promoter, Butter, Verses From The Abstract, Show Business, Check The Rhime, Jazz (We’ve Got), What, Scenario

The Solid: The Infamous Date Rape, Everything Is Fair, Skypager

The Bad: Vibes and Stuff

Strangely enough, The Low End Theory doesn’t sound anywhere near as good as I remember it to be and there is a surprising amount of average material on it. Still, it’s not too much (it’s only a surprising amount because it’s freaking TLET) and some of the good tracks are so good, that you’ll find yourself not giving a fuck. It has it’s share of rough spots but compared with most of the album, it’s really pretty negligible and while it’s an overrated classic in my eyes, there’s a reason and that reason is that the album is excellent. Pick it up as soon as you can.

My A Tribe Called Quest Discography Ranking Thus Far

1. The Low End Theory
2. People’s Instinctive Travels And The Paths Of Rhythm

After Rock The Bells last Sunday, I realized that as legendary as A Tribe Called Quest is, there are still some people who don’t know anything about them besides their name. So I decided to take it upon myself to do a series on the discography of one of the greatest hip hop groups of all time.

A Tribe Called Quest consisted of emcees Q-Tip and Phife Dawg, and producer Ali Shaheed Muhammad, and for their debut album also included Jarobi White (a,e,i,o,u and sometimes y). They’re considered legends for a reason boys and girls and that reason is not making a stupid new dance craze. Far from it, the group was known for revolutionizing hip hop through both lyrics and beats. Altogether they’ve created 3 albums generally considered classics within hip hop circles, 1 considered pretty damn good, and one that well….is honestly not that great but did I mention that they made 3 classic albums????

Anyways, their debut, People’s Instinctive Travels and the Paths of Rhythm, was received with more or less mixed emotions. Some hailed it as the new movement and others regarded it as passable. Rolling Stones magazine actually went so far as to say, “It’s impossible to imagine how people will put this music to use.” Well, regardless of how it was initially received, we in 2008 now know that people eventually came to see the light, and the album was showered with accolades and regarded as one of the best albums ever known to man. The question of course is, is this praise merited?? Well, it’s been a while since I’ve listened to it, so let’s refresh.

The album begins with the “birth” of A Tribe Called Quest in Push It Along, as you can tell from the strange crying baby sample. But then the beat kicks in, and by the time Q-Tip’s melodic rapping comes on, all you’re left with is a freaking great song. This song is one of the few on the album that features Phife Dawg, which is just as well because at this point, Phife hadn’t evolved into that great rapper we all know and love just yet (He was still busy thinking about how to become a successful athlete to give his all into rapping) Then, there’s a long ass interlude by Jarobi and then Luck Of Lucien begins. Horns on the hook included, I freaking love this song.

The next track is After Hours, and it’s an overall great track, but that’s due more to the absolute beauty of the production. Tip’s rhymes aren’t bad by any means, but the beat does overpower him. The beat on the following track, Footprints is just as great, if not better, and to top it all off, on this track, Tip actually matches its quality tit for tat. Left My Wallet In El Segundo is one of the weirder songs on the album and seems to be entirely about losing his wallet on a road trip. The story tellings excellent, but that doesn’t change the fact that the story itself is just random. With the album’s next track, Pubic Enemy, the album hits it’s first miss. I’ve never liked this song, and listening to it now, I still don’t like it. Enjoy a good laugh over the name, listen to the first minute or so and feel free to skip it. You won’t be missing out on much. Fortunately for us, the next song coming up is the epicly sweet Bonita Applebum. Seriously, it’s a great fucking song and I’m pretty damn sure The Fugees were listening to this when they were recording their own classic, The Score. Listen to Killing Me Softly if you don’t believe me.

Afterwards, Can I Kick It comes on and, Phife! Where the hell have you been? I know the dude is not impressing too much on this album, but by the time the next album rolled around, the 5 foot freak had seriously stepped his game up. For now though, I guess you’ll just have to take my word for it. Anyways, it’s a dope track and it makes the next 2 tracks, Youthful Expression and Rhythm (Devoted to The Art Of Moving Butts), look like nothing special. Youthful Expression is actually a pretty sweet track, just bad sequencing, and Rhythm may just have the most ridiculous title ever given to a hip hop song ever. Mr Muhammad, may be devoted to ATCQ’s sick ass producer, but the track itself is just boring I’ve never actually gotten through the entire track. Ham N’ Eggs, easily takes the cake for strange rap topics, as the rappers rap an entire song about…vegetarianism. Despite sounding like it belongs on Sesame Street, I think it’s decent enough. At least it’s better than Go Ahead In The Rain, which has to be one of my least favorite Tribe tracks ever. Thankfully for all involved, the last track, Description Of A Fool, is a LOT better, and ends the album on somewhat of a high note.

The Good: Push It Along, Luck Of Lucien, After Hours, Footprints, Left My Wallet In El Segundo, Bonita Applebum, Can I Kick It, Youthful Expression, Rhythm (Devoted To The Art Of Moving Butts), Description Of A Fool

The Solid: Ham N’ Eggs

The Bad: Pubic Enemy, Mr Muhammad, Go Ahead In The Rain

Final Score: 9.0/8.5

When all is said and done People’s Instinctive Travels and the Paths of Rhythm is not the unquestionable classic people claim it is. A lot of people won’t agree with me, but listening to it, it’s clear that Tribe still had some room to grow and there are some missteps on this album. However, just because it’s not classic, doesn’t mean it’s not great and there are more shining moments than missteps to be found. Overall, it’s an album that isn’t their best, but it is a great album that really shows flashes of brilliance that promises excellent things to be done in years to come.

I think we’ve spent enough time in 1987, don’t you? So without any further procrastination, here is the much hyped, highly anticipated review of Down By Law. Ahh, let’s be serious. Most of my readers have probably never even heard a song by MC Shan, let alone a whole album. Here’s a quick background on our emcee in question. He was one of the members of Marley Marl’s Juice Crew, which meant that among his colleagues were Big Daddy Kane, Masta Ace, and Kool G Rap. All of whom, I might add, are better rappers than he is. He’s also remembered for being involved in the previously mentioned (in the Criminal Minded review) beef with KRS-one. That didn’t turn out too well for him either, because it more or less ended his career. Don’t agree with me? When’s the last time you even saw an MC Shan album?

I hope you’re not taking all of these negative comments to mean that I don’t like MC Shan or that I think he’s a bad rapper. I mean, almost anybody would look bad in a group consisting of BDK, Masta Ace, and KGR. BDK and KGR are freaking G.O.A.T.s, and Masta Ace has yet to put out a single album I had not enjoyed. And as for his beef with KRS, NOBODY could’ve gotten away with that except maybe Rakim. So I guess what I’m trying to say is… MC Shan is a great rapper who just met some bad luck. In another age, in another place, with another group, dude could’ve been a star. Or at the very least, he wouldn’t have sunk into the depths of old school oblivion.

The Good:

3. The Bridge - Ahh, the song that set off the whole Bridge Wars. Still sounds great to me in this day and age.

4. Kill That Noise - I guess I should give credit to Marley Marl here, because after all, when you think about it, this album is as much his as it is MC Shan’s (think Wu Tang first round solos). Great beats and great rhymes. You just can’t go wrong with that. For those who are interested, there are a bunch of shots taken at KRS found all throughout the track. Man had no idea what he was getting himself into…

5. Down By Law

6. Left Me Lonely - Despite the questionable hook, it’s a good song. Emo rap as it used to be until Atmosphere perfected the whole thing (on a side note, Slug hates it when he’s labeled as emo rap. Well, if your music ain’t happy and it’s depressing as fuck, I can’t really imagine why I wouldn’t say it’s emo.)

8. MC Space

9. Living In The World Of Hip Hop - If you don’t ever hear anything else by MC Shan in your lifetime, at least hear this one song. Bar none, my favorite song off the album.

The Solid:

1. Jane, Stop This Crazy Thing - If you’re a big Talib fan, you’ll understand me when I say that this song makes me think “Broken Glass ‘87: The Crack Edition.”

2. Project Ho

7. Another One To Get Jealous Of - Interesting first time through, but I’m not gonna be jumping to listen to it again any time soon.

The Bad:

Final Score: 9.0

If you’re used to listening to only the hip hop songs of today, this album may take a bit getting used to. Marley Marl’s beats are very minimal and sound outdated next to most of the beats that have been released since. MC Shan’s rhymes also have that authentic old school Run DMC feel to them as Rakim’s influence hadn’t lit the whole damn hip hop world on fire yet. But that doesn’t take away anything from the overall quality of the album at all. It just may take a few listens before it really starts to sink in. I can understand why it’s never really discussed with the same reverence held for other classic 80s albums such as Paid In Full and It Takes A Nation Of Millions To Hold Us Back. But like I said, this was a time when people actually needed skills to survive and just cause Down By Law doesn’t hold up to certified classics doesn’t mean that it isn’t a great album by any means.

Damn, it’s been a while since I’ve last posted on the odyssey. It’s been damn near a week and a half since the Eric B and Rakim entry and I’m still on 1987. Not that I’m complaining mind you, considering I’m not looking forward to some of the post 2000 albums on our little trip. Anyways, today’s album is the debut album for the legendary Boogie Down Productions, best known for introducing the world to one of the best to ever hold a mic, KRS One. This album is remembered as the only BDP album to feature DJ Scott La Rock (R.I.P.) and also as the least preachy of the entire KRS discography. Now, since my next entry will be on MC Shan, I can go into the whole Bridge Wars era and the beef between KRS and Shan, but I’d rather not. It’s a long story, and you know, that’s what Wikipedia’s for.

The Good:

1. Poetry - It’s been a while since I’ve listened to this album, and damn…. 20 years does a lot to a man’s voice. I prefer the younger KRS’ vocals to the present’s, further adding to my theory that a big reason the legends “fall off” is due to their voice changing on them (ie. Q-Tip anyone?).

2. South Bronx - BDP’s response to MC Shan’s supposed claim that hip hop was born in Queensbridge still sounds great. To this day this is probably one of KRS’ more well known songs.

3. 9mm Goes Bang - I’m a sucker for violent crime stories set over happy, bouncy beats.

4. Word From Our Sponsor

5. Elementary - Knowledge Reigns Supreme Over Nearly Everyone. I’m also a sucker for dope ass backronyms.

6. Dope Beat - Samples Back In Black by AC/DC and sounds a lot like a Run DMC song in the process.

7. Remix For P Is Free - Fans of the Black Star album shoud definitely listen to some of Boogie Down Production’s stuff. Especially if your a fan of Definition. For those interested, I do think that Definition is the better song. Sorry BDP, but that song was the shit.

8. The Bridge Is Over - The infamous dis track that in my honest opinion, made any further songs put out during the beef sound weak by comparison.

10. Criminal Minded - Quite recently, DJ Premier and KRS worked on an 08 version of this song. As much as I love Primo’s work, his new version doesn’t come close to touching this classic.

The Solid:

9. Super Hoe - I think it’s just alright. Don’t get me wrong, it’s not that I don’t like it. But the rest of the album makes me overlook it.

The Bad: N/A

Final Score: 10.0

The weakest song on the entire album is Super Hoe, and even that song isn’t bad. There are really only a handful of hip hop albums ever made that I would award the status of Unfuckwithable Classic to. This is one album that every hip hop fan should have heard straight through at least once, and that every hip hop die hard should have in their collection (there’s a couple of albums that fall into this category. Maybe I’ll devote an entry to that one day). It’s not even out of print anymore, so ya’ll have no excuse. Shittt…I’ll even link you guys.

http://www.amazon.com/Criminal-Minded-Boogie-Down-Productions/dp/B000B8I8LO/ref=sr_1_2?ie=UTF8&s=music&qid=1215459526&sr=1-2

Eric B and Rakim. Quite possibly one of the most influential emcee producer duos of all time. And for no small reason either. Production wise, Eric B popularized James Brown samples and soul samples in general in the making of beats. On the emcee side, Rakim literally tore down lyricism as it was and rebuilt it into a whole new monster. That’s one of the reasons I get so mad when I hear songs on the radio these days. It’s almost like they’re trying to undo what was done for lyricism and make hip hop go backwards. But that’s for another entry. This one’s wholly devoted to the widely considered classic, the legendary duo’s debut, Paid In Full.

1. I Ain’t No Joke - The intro is nonexistant here. The album wastes no time revolutionizing hip hop with this great track. As much as I appreciate old school pre Golden Age hip hop, I’m not gonna lie. It’s refreshing to hear this and I’m glad we’re in 1987.

2. Eric B Is On The Cut - The token DJ cut. It’s pretty good, but I’ve heard better and I’ve never really went nuts over too many straight DJ tracks to begin with anyways. I prefer rhymes over my beats.

3. My Melody - Contrary to popular belief, Eric B did not produce the entirety of Paid In Full. This track is actually produced by legendary Juice Crew producer Marley Marl and really, it does kinda stick out compared to the rest of the album.

4. I Know You Got Soul - One of the duo’s more famous tracks, I’m sure most people have heard this track at least once, even if you don’t recognize the name. IMHO, easily one of the best songs on this album. It absolutely rocks.

5. Move the Crowd - The beat is an absolute masterpiece and Rakim’s lyrics don’t trail too far behind. Five tracks in and not a weak song yet. This feels good, especially after reviewing RZA’s Digi Snax.

6. Paid In Full - Another song everyone’s heard at least once. Even if don’t remember anything else, I know you’ll recognize the bass from countless other hip hop songs. Quite the beauty of a track, it’s Coldcut remix is also quite the crazy song. I may place a link to it this weekend if I’m in the mood.

7. As The Rhyme Goes On - I always appreciate Beastie Boys vocal samples, and this is no exception. Contains a couple of Rakim’s more famous rhymes. Actually, scratch that since I can say that about damn near every track on this album.

8. Chinese Arithmetic - Another DJ track, I actually think it’s better than Eric B is on the Cut but did we really more than one of them? I could’ve used some more tracks with rhyming especially considering the album is only 10 tracks long.

9. Eric B. Is President - I remember back when I first heard this album, I thought that this would be another DJ track because of the name. I remember being really glad when Rakim started rhyming and ripping it up.

10. Extended Beat - I also remember hearing this and thinking “WTF they decided to end this with another Rakimless track?” I still think that today.

Final Score: 9.5

If they decided to remove one or two of the Eric B solo DJ tracks and replaced it with some more actual songs, this would be a 10.0 no problem. As it stands, it’s still a good fucking album (I’m pretty sure it’s not my favorite by the duo either). I’m sorry if this sounds like some strange Paid In Full lovefest, but this is one of the few albums that actually deserve it. It’s influence is undeniable, especially in the lyrics department. Listen to this thing straight through and I’ll guarantee you that in almost every song you’ll be like, “O! Rakim said this? My favorite rapper says this all the time.” Listen and be blown away.

Ah, here we are finally. Took a little longer than I thought it would take, but we’re finally on the third album of 1986. And what an album it is! Raising Hell, by Run DMC is considered by practically everyone to be their best album and is in tons of greatest so and so lists in various magazines. Chris Rock even goes so far as to call it the first great rap album. In many ways, it was the first album to really put rap on a national level of fame. Of course, as we now know in today’s crunk crap era, fame doesn’t necessarily equal quality, so let’s start our critical review.

1. Peter Piper - The album starts right off with the rhyming, even before the beat comes in. The lyricism on this album is actually pretty dope, considering that it was before Rakim and the so called revolution happened.

2. It’s Tricky - EVERYONE knows this song. Sounds just a bit corny in this day and age, but damn me if this song isnt fun.

3. My Adidas - The ever so famous ode to the essential B-boy gear of choice. The beat is minimalist as hell, but that’s fine with me. I prefer a simple beat like this any day to that shitty A Milli.

4. Walk This Way (ft Aerosmith) - The song that catapulted them to stardom, Walk This Way, was the first rap song to ever reach the top 5 of the Billboard Hot 100. Back in these days, popular rap actually had artistic value.

5. It Is Live - Amazing percussion creates a musical soundscape for Rev Run and DMC to trade rhymes over in this track.

6. Perfection - As far as percussion based beats go, I largely prefer the last track to this one. Honestly, this track gets to be pretty boring.

7. Hit It Run - The beatboxing on the track sounds pretty, well, horrible but the rest of the track is pretty amazing. I’m gonna say that the beatbox portion wasn’ t meant to be taken seriously at all. Yeah..

8. Raising Hell - A great mix of rock and rap. Run DMC may not have been the first to mix the two genres, but they were definitely one of the greatest.

9. You Be Illin - Jam Master Jay cuts the track beautifully and Run DMC comes off sounding like an extremely subdued version of the Beastie Boys. Not surprising I guess since both this and Licensed to Ill were produced in large by Rick Rubin.

10. Dumb Girl - I find the hook on this song to be hilarious, but other than that I’m not the biggest fan of it.

11. Son of Byford - More of an interlude than anything. Features yet more meh beatboxing but since this is an interlude I guess I don’t care too much.

12. Proud To Be Black - The token afrocentric track. It’s really a great track. If Public Enemy weren’t so bent on revolution, this might be what they would sound like.

Final Score: 9.0

22 years after its release, the album does sound a little outdated in some parts. But who cares really? Outdated or not, it’s still dope as fuck. The album is consistently good all throughout, but that also ends up being the reason it only gets a 9.0 from me. There’s no track that shocks you and grabs you and makes you want to go back just to listen to it a gajillion more times. In other words, while the album is consistent, there’s really no punch in the face moments of excellence. Still, like I said, it’s dope and definitely deserves to be listened to. And with that said, 1986 is over. You know what that means. Next stop, 1987 and the Golden Age!

So after learning about the great man Afrika Bambaataa were you able to sleep last night, all excited about hearing some actual music from the guy? Have you been refreshing the browser every 5 minutes, hoping that I’ve finally posted a review of this old school gem? Are you dying with anticipation right about now? If you’ve answered yes to any of the above, you’ve just surprised the crap out of me and made me think that maybe there is a hope of a hip hop renaissance in the near future. But most likely you’ve answered no to all of them and there is no hope whatsoever but that’s beyond the point. The point of today’s entry is quite obviously the review of Planet Rock: The Album (so as not to confuse it with Planet Rock: The Song I guess). Before we go any further into this writeup, you should know that many of the songs were actually from earlier than 1986 and Planet Rock serves more as a compilation in a way. Also remember that this is an old school album and the beats and rhymes may sound a little outdated. But then again, the rhymes you hear on any given old school album is better than some of the crap that Souljah Boy is pulling out of his ass so maybe you guys won’t care. And I’m going off on a tangent again. So, without further ado I give to you, Planet Rock: The Album.

1. Planet Rock - The voice effects in the beginning give kind of a feel of an old school T-Pain. But unlike  actual T-Pain tracks, this track pretty much rocks. There’s huge breaks between actual verses on this song and you’re probably not used to that. You just have to understand that back in the day, hip hop actually incorporated all of its elements. These days, it seems like the only aspect of hip hop that have survived is emceeing (which isn’t even referred to as such anymore) but back then the emcee knew that it was part of a bigger machine.

2. Looking For The Perfect Beat - So, a common question I receive is that if I claim the majority of  Crunk music to suck ass because of its simplistic lyrics, how can I call something like this a classic track? Well, one answer is that this was back then in the beginnings of hip hop. The art of emceeing has evolved quite a bit since then and if you can’t even rap better than these guys that can only mean hip hop’s devolved. Second, as mentioned above, the emcee wasn’t the forefront of hip hop at the time and it was evenly concentrated. The DJ on this track is equally as important as the emcees. Hip hop these days don’t even concentrate on anything else but the emcee, hence people just calling it rap. If you claim rapping to be the center of hip hop, God forbid I hear some actual dope rhymes on a track once in a while. And geez, I’ve strayed. I’m sorry, the song itself is dope.

3. Renegades of Funk - Fans of MF Doom might recognize the intro from that one track with Mr Fantastic. Fans of good music might recognize the track to be an infectious as hell, great song. I personally enjoy the sections without the emcee better but that’s just me.
4. Frantic Situation -  It’s an average track, especially compared to the previous three tracks. It’s also quite annoying in some parts. Thankfully, it’s also the shortest track on the album so we don’t have to listen to too much of it.

5. Who You Funkin With - Remember how I said, the emcee wasn’t the main focus of hip hop back then? Doesn’t mean that there weren’t any tracks that put rhymes in the spotlight at all. The first three fourths of the song lets the emcees take center stage and not a single line is wasted.

6. Go Go Pop - And the rapping steps back and takes its place among the rest once again. But who cares? It’s still pretty good although it kinda drags a bit past the halfway point.

7. They Made A Mistake - A banging way to end the album.

Final Score: 9.0

I may be a bit generous in giving it a 9.0 but taken in the full context of the whole old school hip hop movement, I don’t think that score’s too far off. This is a great album to listen to if you want to know what hip hop sounded like back in the days. People talk about old school these days, they talk about B.I.G. and Tupac. Fuck outta here. This is old school and it’s old school at its finest.

And so we begin, with the first actual album review in the series. Took long enough huh. Anyways, when we last left the Beaties, they’d just met Rick Rubin, changed themselves into a rap group and signed with Def Jam. The premise of the Beastie Boys was simple enough. They were a bunch of white guys who loved to drink, party, womanize, and somewhere in between rap about all that. Looks like a horrible idea on paper to me, but what do I know right? Especially since the album was freaking incredible and has since its release sold only about a gajillion copies. Seriously, the Rolling Stones’ headline was “Three Idiots Create a Masterpiece.” And that…pretty beautifully sums up the Beasties in a nutshell. So, let’s continue and actually listen to this masterpiece that idiots made, Licensed To Ill (which, no joke, was originally supposed to be called “Don’t Be A Faggot”).

1. Rhymin & Stealin - The song starts with the drums. Then the guitar joins in. Then, the three proceed to rap a great track. That choppy rhyme style you’re hearing? That’s old school baby. Until we hit “A Hip Hop Odyssey Through NYC: 1987,” get used to it.

2. The New Style - The chemistry found in the the group is pretty amazing. I for one think that today’s rappers should bring back the tag team style of old school fame (Mos Def and Black Thought did it on a Root’s song and the end result was nothing short of superb). As for the track itself, it kinda drags a little bit towards the middle but then, wait! The beat changes in the middle of the track and you’re right back to enjoying it.

3. She’s Crafty - Eh, you can do without this song. Songs complaining about females has never caught my attention unless it happens to be made by Will Smith and Jazzy Jeff. And Gold Digger was alright too I guess. But this one you can do without.

4. Posse in Effect - Man, imagine what could’ve happened if the Beastie Boys were actual beats on the mic. Crazy. As for the track itself. It’s alright.

5. Slow Ride - The first thing you’ll notice is that there’s no guitar on this track. Second thing is that regardless, it’s good. Very chill and relaxed for the Beastie’s first album. You don’t get much of that until an album or two later so this is a preview of sorts.

6. Girls - This song makes me wish I were reviewing Check Your Head or Ill Communication instead. This album sounded a lot better the first time around. Where are the good songs?

7. Fight For Your Right - O. There they are. Everyone knows this song. My mom knows this song. Some people think it’s great, some people not so much. Myself, I used to live by this song. So I guess I fall into the former camp. Strangely enough, the Beasties themselves, fall into the latter camp. Weird huh? Whatever it’s a great song.

8. No Sleep Til Brooklyn - Followed by something even better. The guitar here is pretty sick and it comes complete with a guitar solo played guitarist Kerry King of Slayer. I’m starting to remember why I like this album so much.

9. Paul Revere - The track almost sounds too subdued to be on this album. But, I’m glad it is because one of my favorites. It’s also most likely your favorite rapper’s favorite track as well.

10. Hold It Now, Hit It - If I’m not mistaken, this was the first single to be released from the album. It’s pretty good but more often then not, you’re gonna skip this song…

11. Brass Monkey - …in order to get to this one. It’s a fun track and it’s hard not to like. It’s just too damn infectious.

12. Slow and Low - Believe it or not, this was originally a Run DMC song that was left off King of Rock. I’m glad the Beastie Boys decided to do a cover because it would’ve been a damn shame if no one ever heard this song.

13. Time to Get Ill - I’ve always liked this song and I’m glad I did, because last songs are very important to my overall impression of an album (well, unless its an outro of some sort.)

Final Score: 8.5

As much as I love this album, it’s more of a personal taste thing. I can’t give it anything higher than an 8.5 without feeling pangs of favoritism. That being said, it’s still a great album and it deserves nothing lower than an 8.5 either. It might take a while to get into some of their stuff but it’s well worth it. You’ll be glad you did when I begin the reviews of their later albums. Their next album sounds totally different and I actually think that their next three albums are nothing short of classics. But til then, and til the next review in this series knock yourself out with this one.

This blog will be run through album reviews by themes. You’ve already seen the first mainstay, the New Album Review, which will be done every Tuesday and Saturday provided there’s new material. The rest of the week will be filled with various other themes. The first of these others will be A Hip Hop Odyssey Through NYC. I’ll basically just be seeing how hip hop has evolved in the 20 years between 1986 and 2006 by picking three albums that came out during the particular year that were influential during the time. Why those two years? To be honest, no real reason other than that it just works.

So we begin our journey through time in 1986. By this time, hip hop had already come a good way since its early days in South Bronx but still had a long way to go. As such hip hop was about to face a revolution. One that would change it forever and take it to heights never dreamed of. But not yet. In my humble opinion, 1986 was truly the last year before the Golden Age began and the last year of true old school hip hop. So simply because it was before the Golden Age, does that mean we can ignore it and call it irrelevant? Hell no. 1986 was a year of bangers and some of the best hip hop these ears of mine has ever heard was released. To capture the spirit of this year the three albums I chose were “Licensed to Ill - Beastie Boys,” “Planet Rock - Afrika Bambaataa,” and “Raising Hell - Run DMC.” So what is it about these albums that rocked and do these so called classics still hold up today? We’ll know tomorrow when I begin with my super review of the Beastie debut Licensed to Ill. Til then.