Cypress Hill Live in Philly 10/29/07; News Roundup

First off, I'm real real sorry for not having any updates in well, almost 2 weeks. I hope it didn't seem like this blog went up for 2 weeks and then just disappeared into oblivion...forget that! ANHS is back and in full effect. I was just away on a trip for a whole week to Boston (I thought it was only going to last a few days, but hey) so now I'm back in Philly read to keep things flowing. And I'll be starting a new job in a week so I'll make the most of my time now while I'm still unemployed and have way too much free time. I had a big tweak-out though when I thought my external hard drive with all my 31,000 songs (probably half or more are rap) crashed. Then it started working again, and now it's acting up. I better buy a new hard drive quick and transfer everything before everything really gets screwed. Here's hoping that I don't end up losing anything, I've got way too much good music to lose it all. Oh and if anyone cares, I'm listening to Hard 2 Obtain's "Ism and Blues" right now, a classic as always. Good shit.

So after way too long I'll finally tell ya'll about the Cypress Hill show at the TLA in Philadelphia on October 29th. It was a banger of a show and the Hill never disappoint. The TLA is a small venue, holds maybe 500 people, and it was my 5th time seeing them, but the first time as a headlining act and in such a small venue. Festivals are cool and all, but hip-hop acts at big festivals don't always sound that great (CH is a BIG exception to that though). So yea, I was at the show with my buddy and the Hill played another great set. First up were 2 opening acts, one called Black Landlords and the other whose name I never caught. They were both pretty dope and could hold it down. The group whose name I didn't catch reminded me of The Roots a little, and they even had a female MC who was actually pretty decent.

After that of course came Cypress Hill and the crowd was definitely feeling it. Every time I've seen them their setlists are pretty similar, which is a shame cuz they really do have a deep catalog. Interestingly, they didn't play any tracks from their last album, "Til Death Do Us Part," even though in this kind of show most of the people there would probably know it. I'm not a big fan of that album but it got good reviews so go figure. They played the usual suspects though, like "Cock the Hammer," "Insane in the Brain," "How I Could Just Kill a Man, "Hits From Da Bong" etc. I was real disappointed they didn't bring out the obligatory 4 foot bong on stage as the intro to "Hits From Da Bong" plays. That's practically a staple at their shows, and Bobo (the percussionist) always does a big rip to the dome and goes back to the bongos (bongs, bongos, haha, get it?) Besides that though, Cypress Hill was on point and played to an energized crowd who was obviously as psyched as I was to seem them in such a small venue where their beats really BOOM. I still wish DJ Muggs would tour with them, that would be cool, but Sen Dog is still a great hypeman and even a somewhat decent rapper. Being the blogger that I am, I brought my digital camera with to take some pics and videos, but of course in the dark venue they didn't come out too well. Here are some pics that came out sort of clear, and some videos I put up on Youtube as well. Enjoy ya'll:


The opening act whose name I don't know















Yea that's B-Real. They all came out blurry.















This is probably the clearest shot I got all night. I know it's sad....I'd post up some more but the quality is pretty laughable, so naaah. Damn lighting.

Below are 3 videos I took with my Canon digital camera, hosted on Youtube. Sorry for the bad quality, but it is what it is...

Performing "Hand on the Pump"



Performing "Dr. Greenthumb" (with a crowd banter intro)



Performing "Rap Superstar"








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Quick news roundup.

Ghostface Killah has his own limited edition doll now, with only 1,000 made and costing $500. 500 bucks for a doll, da fuck? I don't care if it has a medallion made of 14 karat gold. Hell, I don't care if it's got that sweet, addicting crack hidden inside, I would never pay that much for a damn doll. That's for suckers. I mean, it's got a pimp robe and everything, but not for $500. Hell no.


In other Wu-Tang news, looks like there's some more in-fighting in the group.
Ghostface AND Raekwon are both speaking out against RZA publicly. Ghostface dislikes the hierarchy in the group, says he didn't get paid enough from the Rock the Bells tour (which I saw in NYC both dates by the way), and that the release of "8 Diagrams" was going to conflict with his own solo LP's release. Raekwon says he's "being taken advantage of" and would like to make a Wu-Tang Clan album in the future without RZA. Them's is fightin' words! Method Man has also criticized RZA's business partner, Divine, in the past. I didn't know anything about that. In response to all this, a spokesman for the RZA says "It's all his fault, and he'll take the responsibility." What the hell is going on here people? Just recently Raekwon said that things get a little crazy when the Wu are not together as a group, but that when they are together things just gel and go smoothly. But now he does a 180?

This does not bode well for The Wu at all. This is not the first time members have bitched about the group as a whole and how it's run, and it's obvious everyone's got beef with the RZA. I remember reading a couple years ago how Cappadonna was making money as a taxi driver in Baltimore because he never got his royalties from working with the Wu. Raekwon's and Ghost's public criticisms of RZA may even lead other members to speak out, which wouldn't surprise me. But then again, there's so many damn rappers in the group that it's hard for everything to be equal. I mean, GZA's probably the best rapper in the group but gets little love, and Inspectah Deck is even more ignored, which sucks cuz along with GZA, he's my favorite member of the Wu (it's hard to pick though). And I'm sure that U-God and Masta Killa will now come out of the woodwork to bitch too, but they're both wack MCs so who really cares. I just saw the other day that the Wu-Tang Clan will be doing another tour and will be playing in Philly in January. I've already seen 'em 3 times so who knows if I'll go again, and who knows if they'll even be doing the show? They seem ready to implode.

In an SOHH.com article, Raekwon goes even further and talks about how no one in the group besides RZA is happy with the album; they don't like the heavy use of guitars and calls RZA a "hip-hop hippie." I'm not gonna lie, that's some funny shit. RZA of course basically responded "Fuck you, I'm the RZA and I know what I'm doing." So it really does look like the rest of the group will try to release their own album called "Shaolin vs Wu-Tang" after "8 Diagrams" drops. Who knows what'll happen now, who knows.
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Lil' Wayne, Busta Rhymes, Remy Ma and Ja Rule all somehow managed to appear in court on the same day in regards to their various charges. It was all a big spectacle and blah blah blah, but we all know that nothing's really going to happen to them. The one interesting case is Remy Ma's, who's accused of shooting a friend. But she'll probably get off, just like all other celebrities. Word up to the United States criminal justice system.
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There's 2 new 2Pac albums coming out this December, both career retrospectives. Does anyone give a shit anymore? Do we even need these? There already was a 2 disc Greatest Hits set, and NO ONE wants anymore 2Pac remix albums. Those albums should rot in hell. C'mon Afeni, give us more stuff like "Better Days" and "R U Still Down." Those were great posthumous releases with great material that didn't totally insult his legacy. Stuff like the remix album and "Pac's Life" were just a disgrace. Who wants to hear 2Pac rapping with GGGGG-Uuuunnniiiit? I sure as hell don't. And if there really is someone out there that does, let me know and I will go find them and give 'em a nice slap in the face and tell them to "Wake the fuck up!" In more positive news though, they caught the guy who put a noose on the 2Pac statue. Good for them. Stick him in prison and don't let him go.

That's about all I got right now. If you've still been checking out the blog every so often since my last post, wondering if this thing had died, thanks for sticking around still. I'm still looking for more ways to spread the word about this blog, so if anyone has some ideas on how to advertise it drop me a line at anhsblog@gmail.com

In the coming days look for some album reviews, including one of Somobe's "The Great Communication," some new underground rap from Las Vegas (yea you read it right) that is seriously dope.

Peace

It's Global #1: Speech Defect

Time for some international Hip Hop. This time from a country that is represented by this dude; Sweden.




After my daily search for new dope music, I landed on the Myspace of a group named Speech Defect. I saw they are from Sweden and my hope was suddenly gone. In my head I saw some redhaired dudes with freckles rapping with an accent like the Swedish Chef. But thank God I was wrong. The musicplayer was finally fully loaded and a track named “Superfuture” started to play and it was really dope; a funky beat started to play and the way of rapping reminds me of the group Ugly Duckling. On their Myspace was a banner for their latest (2007) album: Come For Da Funeral, Stay For Da Food. This is their second official release (debut album is Freshcoast Gettin Rowdy).
This second album contains features of Ugly Duckling, People Under The Stairs, Abdominal and Aaron Phiri. Damn, this HAD to be a great album. Because it’s a pretty unknown group it was hard to find, but thanks to my uncle I finally got it. After an hour of ear-orgasm I knew I was right: It IS a great album.

Come For Da Funeral, Stay For Da Food is a really nice album. Don’t expect political rhymes or “gangsta-talk”, it’s just (like Ugly Duckling says) ‘Comicbook-rap’: Just non-serious lyrics and some nice, happy, funky (and sometimes laidback) beats. It’s all about having fun and you hear Speech Defect had LOTS of fun while making this album.I think lots of hiphopheads will dislike this album, because the lyrics aren’t that good. I really like it, it’s a funny album (although you’ll have to understand the sense of humour) and the beats are really good. They are funky and I like that. The features on the album makes the album even better.

My favourite tracks are those with the features: The great Superfuture remix with Ugly Duckling, the funky Got It Good, featuring Thes One (of People Under The Stairs) and of course the funky, little more uptempo track Hang’s Up featuring the Canadian rapper Abdominal. What really disappoints me, is the skit with Double K (from P.U.T.S). I’d rather hear a full track with him instead of a not funny skit. But Speech Defect can make great tracks without guests too, just listen to Holla At Yo Favourite Color and the titletrack.Also good to know by the way: the group is from Sweden but you don’t hear a Swedish accent at all. They say a swedish word twice, but that’s it. The verdict: Come For Da Funeral, Stay For Da Food is a really good album with lots of funky beats and ‘comicbook-rap’. The guests spots are really good and you can hear the fun the guys have and that’s a positive thing for the album.


Download:
http://rapidshare.com/files/64877246/sdcfdafuneral-aintnohalf.rar
(Including 2 exclusive bonus tracks)

Recently someone uploaded lots of Speech Defect stuff: Their debut album, remixes, b-sides and unreleased stuff. If anyone is interested, leave a comment and I will upload it!

Pissed at Nas, Odds 'N Ends

Let me start this off by saying I'm REAL FUCKIN' PISSED at Nas, that bitch! He was supposed to play a show in Allentown, PA on November 10th and my buddy and I bought tickets for $35 each pretty much the day they went on sale...we were fiending for this thing. Then I check on the venue's website the other day and the show is nowhere to be found. Instead of Nas, for 11/10 they have a show listed for the wack-ass Third Eye Blind. I called the venue all pissed off and they said Nas canceled on them three times. They said I couldn't get a refund from them but that Nas' management would have to give a mass credit refund to all the people that bought tickets. The show may be rescheduled for sometime in 2008 but that doesn't seem likely. And with Nas you never know. So now I have no clue what the hell is going on. Am I really going to get a credit for $70 on my next credit card statement from Nas? I doubt that, fucker. If nothing happens soon though I'm gonna start a revolution on this thing called the Internet and get my money back. I don't care if you're working on a new album right now, asshole.

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In other Nas-related news, it looks like the New York State Assembly has threatened to pull out $84 million in investments in the Universal Music group if they don't change Nas' planned album title, "Nigger." This new development could hold some serious weight in having Nas change the album title. If the Assembly is not just blowing smoke, Universal will probably give Nas an ultimatum to change the album title. Why? The music industry is so strapped for cash right now they would never in their right mind risk losing $84 mil in investments. Think about it.
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Jay-Z's "American Gangster" album has leaked. I'm not sure if it's the full album, but there's sure a hell of a lot of tracks. Even though I probably should listen to the songs to be able to "report" on them, I'd rather wait till the proper release comes.

Also, Jay-Z is doing a short tour where he'll be performing tracks from the new album. He is coming to Philly on November 12th which I was real psyched about, but then I saw the tickets were $125. For other dates, the prices range from $100-150. The hell is that? I love the dude, but does he seriously have to charge that much? The show in Philly is already sold out and I don't blame people for going, but that is way too much money for a hip-hop show. He shouldn't be charging U2 or Rolling Stones type of numbers. But hey, he's Jay-Z, he can do whatever the hell he wants, right?
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Lil Wayne's "Tha Carter III: The Leak" is now coming out on December 18th, with the LP version coming out on February 12th. What's the difference? "The Leak" is all the songs that have leaked on the Internet so far, and the LP coming out in February will be all brand new tracks that are still under wraps. I respect the guy for beating the bootleggers, but let's be serious: by January the songs for the official LP will probably have leaked, and Wayne would have to put out another version of the leak. Shit, a thing like this could go on ad nauseam for years. Good luck Lil man.

A wax statue of Notorious BIG was just unveiled in New York. It looks frighteningly real. That shit would freak me out if I was walking down the street and saw that. For other pictures of it check here.

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Rakim did a really great interview with Pitchfork Media about his new album "The Seventh Seal" and his upcoming tour with Brother Ali and Ghostface Killah (I'm seeing that tour on November 21st, yea yea!). Along with KRS, he's one of the few dudes still giving us quality interviews about rap music and the state of it today. He's been around so long that he should know best anyway. Definitely a must-read.

Don't have much else to report, but I have the Cypress Hill show coming up tomorrow so expect a review of that. I'm going to try and hit ya'll with as much as I can before the second half of this week, when I'll be out of town for a few days. I'll try and review the album by Somobe, "The Great Communication," which sounds real dope, and something else I'm cooking up. So stay tuned ya'll!

And I'll leave you with this...Sports Illustrated just put up one of their photo gallery features, this one on the Top 10 Cities in a Sports Slump. Before I even clicked on it I knew my hometown of Philadelphia had to be #1 on it. If it wasn't that would be an insult to us. Sure enough, they were #1 and I wasn't surprised. As they say, no other four-professional-team city has gone so long as Philly without winning a championship (24 years and counting). I don't see this changing anytime soon. The Phillies made it to the post-season for the first time this year since 1993, The Eagles are sucking worse than Monica Lewinsky, The Sixers, who are MY team, have no real hope of anything right now, especially with the Boston Celtics becoming such a powerhouse over night, and The Flyers...well who really cares about hockey?

Damn, after Nas' cancellation and now this shit, I think I need a drink.

Cypress Hill's DJ Muggs: One Underrated Producer

They never got as much credit as they deserved. They were often derided as fakers, their critics saying that the group wasn’t hip-hop enough and was catering too much to white suburban kids. But let’s be real (no pun intended). Cypress Hill (B Real, Sen Dog, DJ Muggs and Bobo) was a hugely influential rap group for their time. While they have fallen off a little, they’re still putting out decent albums even today. I’m seeing them in concert this Monday in Philly in a small ass venue (maybe only a few hundred people) so I’m real psyched. It’ll be my first time seeing them as a headliner, as the other times I’ve seen them have been at big festivals, one of them being the ridiculously dope Rock the Bells Festival in New York over the summer (this will be my fifth time seeing them, but I’ve also seen other hip-hop acts multiple times, including Talib Kweli, The Roots, Wu-Tang Clan and Rakim so go figure).

One of the reasons Cypress Hill has always been so dope is their beats. So in honor of me seeing them this Monday (expect a review of the show), I’d like put the spotlight on their beatmaker, DJ Muggs. DJ Muggs is by far one of THE most underrated producers in hip-hop of all time. He’s ridiculed as some Italian white boy who’s making stoner rap beats, but if you really listen to his beats, you realize that this guy is no joke. Get over your prejudices and appreciate greatness.

First off we have the Hill’s debut, “I.” This album was pretty revolutionary for rap music. CH was one of the first groups to really embrace rapping about weed, and all of those artists who have rapped about weed after them (basically ever rapper) owes something to CH for that. If you’re going to rap about weed you need the beats to go with it, and DJ Muggs delivers. Consider this: “I” came out in August 1991, and Dr. Dre’s “The Chronic” in December 1992. Dr. Dre himself has said that his G-Funk sound was influenced by DJ Muggs beats on “I.” Yes, THE Dr. Dre. And RZA’s and Havoc’s (of Mobb Deep) dark, gritty beats owe something to DJ Muggs too (Muggs is from the East Coast after all). That's why this album was so revolutionary, beat-wise. It used guitars and funk rhythms before G-Funk overdid it to death. On their debut, CH has tons of funky beats to get your head nodding. The opener, “Pigs,” delivers, as does “Hand on the Pump.” A lot of the tracks feature a heavy bassline and some loud guitars and serious funk riffs (“Hole In Your Head,” “Light Another,” Phuncky Feel One” etc etc etc!). And damn, DJ Muggs used funk samples and little horn samples before it really became cliché (“Real Estate,” “The Funky Cypress Hill Shit”). The chorus to “Psychobetabuckdown” is even on some disco shit! I could go on, but you get the idea.

On the “Black Sunday” album DJ Muggs showcases his ability for dark beats that really get the stoned feeling on wax pretty damn accurate (“I Wanna Get High,” “Hits From Da Bong”). Muggs can also get rowdy on yo’ ass with the beats on “We Ain’t Goin’ Out Like That” and “Lick A Shot.” Those beats are just raw and make you want to fuck shit up, for lack of a better explanation. On “Cock the Hammer” there’s more dark, gritty dopeness and the same goes for “Hand On The Glock.” And that’s not to mention “Insane In The Brain.”


Still not convinced? Well then I present to ya’ll “III: Temples of Boom,” Cypress Hill’s 3rd album. This album was pretty much panned universally (I still don’t get why) and signaled the group’s sharp downfall in popularity. Which is a damn shame, because the whole album from start to finish is on some good shit. Even if you don’t like B Real’s nasal flow, I don’t think any true hip-hop head can argue that the beats on this album aren't ridiculous. If you want an album with some dark, gritty beats that has that “classic” East Coast sound (I know Cypress Hill’s from Cali, but their East Coast sound probably is due to the fact that DJ Muggs is originally from New York), “III” is for you. It easily gives any of that dark, gritty shit from Havoc or RZA a run for their money. It may seem like I’m prone to lofty statements, but I’m not a liar. Just listen to this album and you’ll see why.

I mean, “Throw Your Set In The Air” features Erick Sermon and a pretty haunting beat with some eerie synthesizers and basslines thrown in. “Stoned Raiders” is another gritty beat complete with a piano loop, ditto for “No Rest For The Wicked” (an Ice Cube diss), “Make A Move,” “Killafornia” and “Red Light District” (the latter just might make Dr. Dre jealous). The beat on “Illusions” is on a whole different level, and “Killa Hill Niggas” is another great one (RZA and Masta Killa even rap on it, coincidence or no?) Basically every track on “III” has a banging, gritty beat that fans of RZA and Havoc will love. I could go on about Cypress Hill’s other albums, but if you’re not convinced by now, then I just don’t know anymore….”IV” has more great beats (and sometimes saves the album overall when it gets mediocre, check “Prelude To A Come Up,” “Steel Magnolia,” “Tequila Sunrise,” “Dr. Greenthumb”). On “Skull and Bones” check “Another Victory” and “Rap Superstar,” with that infectious strings loop that calls for some serious head noddin’. And don’t forget, there’s also DJ Muggs’ “Soul Assassins” albums (check Vol. 1, has some of Muggs’ best beats) that have some seriously good production on there, and of course the DJ Muggs/GZA collabo “Grandmasters.” He also produced House of Pain’s “Jump Around” which, don’t front, has a party-movin’ beat.

So there you have it, DJ Muggs, one of the best producers of all time (it really is true. But before I get a bunch of angry messages, He's like top-20 material, not top 10).

Here’s some of his beats to check out:

Download Cypress Hill - I

Download Cypress Hill - III: Temple of Boom

Download Cypress Hill - The Instrumental Album

Download Dr. Dre and B Real - Puppet Master (from Muggs' Soul Assassins Chapter 1 album) (really dope beat)

RZA and GZA - Third World (from the SA Chapter 1 album)
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On another note, I'd also like to welcome Hippopotamus to the writing staff of Ain't No Half Steppin'. He's from Holland so now we've gone international! Look for him to cover both hip-hop from the US and Europe. Welcome welcome.

Philly's Own #1: Last Emperor - Legend of Bigfoot

Here's the first installment of "Philly's Own," a regular feature where I profile an album from a rapper from Philadelphia, my hometown.

I really feel for Last Emperor. First off, the dude is smart. He’s got a degree in Political Science/International Relations. Hailing from the Overbrook section of West Philadelphia, Last Emperor decided to move to New York City to become a rapper. He quickly gained a following and performed frequently at the Lyricist Lounge. This gave him enough popularity to record the track “CIA” with Zack de la Rocha of Rage Against the Machine and the one and only KRS-One (check below for the download link). Then he got signed by Aftermath Entertainment (yes, THAT label) and became a protégé of THE Dr. Dre. Not a bad resume for a guy struggling to make ends meet. But that’s where the fairy tale ends. By 2003 he was no longer with Aftermath and was instead signed to Rawkus Records, which never released an album by him. His debut “Music, Magic, Myth” finally came in 2003 by way of Raptivism Records.

“The Legend of Bigfoot” is an unreleased album that LE had been working around 2002. It’s now only available as a bootleg, and some of these tracks appeared on his debut album. “Bigfoot” is an amazing album for someone with no budget or real recording contract, and it would prove that LE had a lot to offer. He’s an incredibly literate MC and lots of songs reference pop culture, politics and current events. He makes you think a lot too, and even when he’s just flowing along at a steady pace, you sometimes don’t realize you’re listening to someone spitting some true knowledge. On the opening track, “Secret Wars Part 1” he pits rappers like Nas and Busta Rhymes in a crazy MC battle with comic book characters. It’s weird but it works.

LE has a real gift for storytelling and conceptual songs, showcased on tracks like “Party Crashers” and “Animalistics,” where he portrays himself as an animal in the jungle. It’s all a big metaphor though. The track even has a sample from KRS-One’s “MC’s Act Like They Don’t Know.” On “Monumental” he takes a note from the great KRS and becomes a teacher. He’s prone to wordiness sometimes, but if you really listen to what he’s doing on the mic, you’re in awe. “Meditation” is a true standout, a really deep track that will leave you thinking long after it’s over. Things don’t let up with “Heaven,” a soulful track that finds LE talking about death and the afterlife. In a cool concept, he references tons of artists that he’d like to work with up in heaven. By the last track, “Bums,” in which the MC laments his struggles with getting a steady cash flow, you’ve been on a trip. I mean, a real trip. Last Emperor takes you through his psyche and his vast knowledge, and by the end you’re thinking: Damn, this guy knows what he’s doing.

Download Last Emperor - The Legend of Bigfoot

Download Zach de la Rocha, KRS-One, Last Emperor - CIA

Download Snowgoons feat. Last Emperor - Man of the Year

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A great clip of KRS-One talking about the current state of hip-hop (he praises 50 Cent and clowns Kanye West). Check it out:




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Although the VH1 Hip Honors show is old news by now, you may not have heard the audio tracks of the various performances there. Here you have the Tribe, Whodini, Missy Elliot and New Jack Swing tributes. A must peep:

Download

Rappers, Can You Save Yourselves...And What About Us???

*Just so you know, this post is loooong, but I think it's an important one. Thanks in advance for reading a long post by an infant blog. Drop your comments.*

November 12, 2004 marked a new era in rap music. It was the date that marked the beginning of the end for Eminem. Why that date? That's the date that his fourth album, "Encore," came out, a total garbage of an album if I've ever heard one. If I had been stupid enough to pay for it, I would have wiped my ass with that record, cursed it because it would have left some splinters stuck in my ass, then burned it till it melted into nothingness. After that crap, he released more crap with some singles here and there and then eventually "The Re-Up" album which was, you guessed it, more crap. So what has happened since then?

For about 3 weeks in September of this year, 50 Cent and Kanye West's battle royale at the record store saved rap music from having a totally shitty year. The hype helped their sales and the sales of others, but what did it really do? It was like someone cleaning a wound and then forgetting to put a bandage on so that the wound doesn't completely heal. Without trying to sound melodramatic, before Kanye and 50's albums came out rap was like an infected wound needing treatment, and their albums cleansed that wound for a little while, only for it to become infected again. Gross (bad?) metaphors aside, rap music needs some saving right now, and so do its fans. What, really, have we had to look forward to?

Think about it...shortly after "Encore" came Nas' "Street's Disciple" (more on him later) and then in terms of "major" releases in 2005, only The Game's "Doctor's Advocate" (yea I said it), Kanye West's "Late Registration" (more on him later too) and Common's "Be" (more on him later too) held any weight (50 Cent's "The Massacre" came out in 2005 too but c'mon, that was pure shit; needs no explanation). And before you think I'm just another bloggin' 50 Cent hater, his debut was a great album, no doubt about that.

In the last year or so many well-respected rap artists have released albums that received lukewarm receptions at best. Going back to summer 2006, The Roots came out with "Game Theory," which, as much as I wanted it to be the illest shit ever, was just kind of OK (can't say the same thing about their live show though...I've seen them 6 times now and they blow my mind completely every time. I saw them in Philly a few weeks ago with MC Lyte and Big Daddy Kane and they were incredible, one of my best concert experiences ever). I listened to "Game Theory" a bunch of times, but except for a few songs it wouldn't stick.

So skipping ahead to November 2006 we had Jay-Z's "Kingdom Come" which was just kinda ehhh, really disappointing after such a stellar album like "The Black Album" which, I think, should be somewhere on the list of the top 100 rap albums of all time (said it again). He ain't our savior though.



In December 2006 we had Mos Def's "True Magic" and Nas' "Hip-Hop Is Dead." I've actually grown to really like "True Magic" (its reception has been pretty mediocre though) and think there are some dope songs on there. Check "A-ha" and "Murder of a Teenage Life" for proof. So OK, Mos Def is doing his thing, but I don't see him saving us with that album anytime soon. Then there's Nas. I'm a die-hard Nas fan (going to see him on November 10th, expect a review of that), and "Hip-Hop Is Dead" was pretty damn satisfying. He still needs to get better beats though, can't he listen to any of his critics already? I mean shit. Would "Hip Hop Is Dead" save us? Maybe (considering the theme of this article, the irony of Nas' album title is not lost on me).

Skipping the first half of 2007, by mid-2007 we have some quality albums by the likes of Common, who might actually have a good chance of saving rap music from being shitty ("Finding Forever" has sold 405,000 so far, props). Aight, Common's cool, doing well. Next up we have Talib Kweli's "Ear Drum" in August. Disclaimer, I'm a pretty big Talib fan, and will totally defend "The Beautiful Struggle," for the most part. "Ear Drum" was panned overall by fans and the blogosphere (I really hate that term but I'm part of the damn thing so I guess I have to accept it) but I think it's better than people want to admit. It's got a lot of faults, but it's at least a 3 out of 5 stars kind of album and not the total garbage they would have you believe. He had some interesting quotes from a recent interview with MTV News. Here's a sampling:

"You love the Internet, but you hate it," he said, jokingly.

"I was listening to 'Move Somethin' ' the other day, which is a song that I still perform to this day," Kweli said. "But I was listening to technically what I did on the record, I was watching the video on YouTube and I'm like, 'Damn, I'm light-years beyond that style of rhyme. I'm so much better than I was then.' But you'll still get that fan who'll say, 'Yo, there's no way he is as good as he was when he was doing Reflection. I'm like, 'Technically, that's just impossible.' It can't be 15 years later.
"I think the logic of that statement," he continued, "is that people get caught up in a time and what that song represents to them at the time they hear it. And nothing I'm gonna do after that is going to match up to that time period, because they can't get that back. So I have to realize that when I make music, that time is never gonna be back to them."



Talib Kweli is a smart mofo and has always had great things to say in interviews over the years. I agree with his ideas (can't please old and new fans all the time) but I don't know if he's "light-years" beyond the style of rhyme on "Reflection Eternal." If he does get together with Hi-Tek again to do a sequel to the RE album, and it's anything like the first one, we really might have a certified banger on our hands. Ditto if there's another Blackstar album. Talib really might have it in him to save us rap fans, but that won't be anytime soon at least. After the disappointment of "Game Theory," I really wanted "Ear Drum" to be the illest thing ever, but it wasn't meant to be.

Next up we have 50 Cent with "Curtis." Can I get a....Yaaaaaaaaaaaawn. No one expected much from the guy, but "Curtis" really is just plain awful. He sounds like he doesn't even want to be on the record, and save for a few beats, most of the production is equally terrible. For some reason he decided to go with a bunch of unknown producers. That was the wrong move, Mr. Curtis "Look At Me I Got Shot Nine Times!" Jackson. You are officially done as a rap artist now. You said that you would retire from rap if Kanye outsold you, then recanted your statement. I really wish you hadn't. You're definitely not saving us, just retreat to your Connecticut mansion and never come out. Ass.

Kanye West's "Graduation" had probably the best chance to save rap and its fans, even if it was really just going to be a band-aid. "Graduation" is a pretty good album, no doubt, but out of his three it's got to be the worst one. I'm all for reinventing yourself as an artist, but the Eurotrash synthesizer tip he was on on that album went south. Sure, it's got a few really great tracks (if you don't like "Stronger" I think I'd have to call you a liar), but we want albums, man, albums! Forget a single. "College Dropout" and "Late Registration" were both great albums from beginning to end, but "Graduation" is one of those albums that's "good with flashes of brilliance." So be it Kanye. "Jesus" may "Walk" but you're not it. Next.

Alright, now we're up to the present, still in need of some saving. Who's it gonna be? For the rest of the year we have albums coming out from some high-profile artists. Birdman? yea right. Lupe Fiasco? He's got a chance, but after his idiotic comments about A Tribe Called Quest recently, he may have shot himself in the foot with that. Side note: Ya'll other bloggers dubbed that shit "Fiascogate?!" What is this world coming to? Wyclef Jean? Who really cares about him anymore? If he's not getting back together with The Fugees I'm not interested. And after he called T.I. a "prophet" and compared him to Malcolm X in a recent interview, I think I threw up in my mouth a little: "When he speaks, it moves a whole generation." Are you serious Wyclef? Do you even know what you're saying? And talking all high and mighty about someone who has a small arsenal in his house (who're you hunting T.I., Osama?) makes me think you're taking that comparison to Malcolm X a little too literally. Uhh...


......The Wu-Tang Clan's new album, "8 Diagrams?" It's a nice thought, but I think by now its individual members are greater than the sum of its parts. I saw them twice over the summer at the Rock the Bells festival in New York City (it had probably one of the best lineups of any hip hop festival ever, and yes, the aforementioned Talib Kweli, Mos Def and The Roots were all there) and they were still killin' it for the most part. If their album can save us rap fans remains to be seen. The first two leaked tracks, "Watch Your Mouth" (download) and "The Heart Gently Weeps" (download) show some promise, but for one of the first times anyone has successfully sampled or interpolated The Beatles, I thought it would be a lot iller (the keys had me vibing though by the time Method Man gets on the mic). It IS The Wu though, so I'll give them the benefit of the doubt until "8 Diagrams" actually drops on December 4th. Ya'll got potential! We also have an LL Cool J album coming out (I don't know the title or release date nor do I care), but if it's LL Cool J music coming out after the mid-90's, then fuggedabout it. Lastly, Lil' Wayne decided to get his shit together and release "Tha Carter III" on December 18th, not in 2008 as previously reported. Say what you want about mainstream rap and that Lil' Wayne seems to be one of its worst offenders, but the dude can rap. "Tha Carter III" is highly anticipated, and for good reason.

So a few artists attempted and failed to save rap fans and hip-hop, and in the Wu and Lil' Wayne (can't believe I'm including the latter in this myself) we have two serious contenders.

But wait...didn't two hip-hop heavyweights just announce within the last month that they'd be coming out with new albums by the end of the year?



Unless you've been living under a rock (or just been outside way too much), you probably know that Jay-Z is releasing "American Gangster" on November 6th and Nas is releasing "Nigger" (not "Nigga") on December 11th. That's right ya'll, we've come full circle in this article, started with The Jigga Man and Nasty Nas and now we end with 'em. Jay-Z regrets "retiring" from rap a couple years ago (there's a shocker) and Nas has caused a huge uproar in the hip-hop community and beyond since first announcing an album called "Nigga" and now "Nigger." Jay-Z claims he was trying to emulate Rakim in his first single "Blue Magic" (download) but I just don't see it. Track isn't bad though. Nas could be making a serious mistake calling his album that (are all the big retailers really going to carry that? Parents will flip), but if there's anyone you should give the benefit of the doubt to, it's Nasir Jones. Apparently we'll be seeing the first single from the album drop shortly after his "Greatest Hits" LP drops on November 6th.

There you have it. If you made it this far, thanks (or maybe you're just nuts). So basically we are riding on The Wu-Tang Clan, Lil' Wayne, Nas or Jay-Z to blow our fuckin' minds and save our sorry asses. I realize I ignored underground shit, but c'mon, they're not gonna revolutionize anything massive right now, so work with me here.

So The Wu, Lil' Wayne, Nas and Jay, I'm on my knees right now. One of ya'll please start having us flip our shits after your albums come out. We really need that. We're fiending for it. Do we really have to crawl into a hole and retreat to our Eric B. & Rakim, Mic Geronimo and Pete Rock & INI albums? We can't take the wackness anymore. The lack of quality is seriously sucking the life out of us. You may have some real depressed fans pretty soon if things don't go well. The next step beyond that would be going postal. And we wouldn't want that, now would we?

Ain't No Half Steppin': A Quick Rundown

So now that I have that first post out of the way, let me fill everyone in what to expect from this blog. We all love albums like "Illmatic" and "Ready to Die," but writing about them is like beating a dead horse. We all know they're dope but you don't need to read another article that's on their jock.

Instead I'm going to write about albums you might not have heard before, from the 80's to today. If it's good, I'll write about it. I'm definitely biased towards East Coast rap (can't lie), but hip-hop from all corners of the US and the globe will get respect here. Hip-hop is now bigger than the Bronx neighborhoods where it first started, and this blog will reflect that. Canada, France, and even countries like Madagascar and Mongolia will get mentions in international rap columns. I'm a fan of DJ's and turntablism, so I will definitely be highlighting some of those albums too (think DJ Qbert, DJ Faust, DJ Shadow etc.). One of my goals is to expose ya'll to some rap you might not have heard about it, and hopefully you all can expose me to some new shit in the process. A symbiotic relationship is a great way for this place to grow. Sometimes my picks will be obscure, sometimes not.

I was going to have some regular weekly features on certain days of the week, but for now I won't have a rigid schedule with that (although that may change). Here's a summary of some regular features I will have, with hopefully more to come:

• Time Travelin': Highlighting an album from the 70's or 80's
• It's Global: Highlighting an album from the growing international rap scene
• Beef, it's What's for Dinner: Highlighting a beef in hip-hop history with all audio tracks.
• On the 1's and 2's: Highlighting a DJ/Turntablism album
• Philly's Own: Highlighting an album from my hometown of Philadelphia
  

More features to come...this will also be a place to write about whatever I want (only because I can), and this will be on anything hip-hop related, from news to op-ed style columns to pleas to artists to stop making wack shit!

As always, this is a work in progress so if you have any comments or suggestions drop me a line at anhsblog@gmail.com

The Artifacts: Between a Rock and a Hard Place

What album to write about for your very first post on your brand spankin' new blog is definitely a dilemma. It sets the tone for the posts to come and everyone will get that first impression to either agree with your choice and hopefully come back for more, or say it's wack and never come again. So to hopefully reel ya'll in for my first post, I'm going to write about an album that you may or may not know (chances are you do though). I figured it was better to not get too obscure...yet. If you don't know it, consider this an introduction to the more goodness to come.

So here we go...


The Artifacts, consisting of MCs El Da Sensai and Tame One, may never appear on a list of hip-hop’s best MCs. That does not mean they should be ignored. El Da Sensai and Tame One feed off each other well on their 1994 debut, “Between A Rock And A Hard Place.” The duo from New Jersey have a knack for catchy, intoxicating flows and even more intoxicating beats that will have your head nodding from start to finish. A heavy bass beat features prominently on every track, as do guitar riffs and horn samples. The album has a classic East Coast sound, and is certainly one of the oft-overlooked classics of the Golden Age of hip-hop.

There is a gritty, dark sound that is prevalent throughout “Rock” that fits well with the duo’s hometown of Newark, New Jersey. They rep their home state heavily, especially on tracks like “Attack of New Jeruzalum,” which has a raucous chorus that will have you shouting along after only a few listens. They rep the art of graffiti (“Wrong Side of Da Tracks”), weed (“Lower Da Boom”), and have a unique take on the ubiquitous topic of bitches on “What Goes On?” While you won’t find any earth-shattering content on “Rock,” the lyrics are memorable and the MCs attack each track with such aplomb that you may not even realize their subject matter can be a little less than intriguing. They do get props for repping graffiti though; rapping about graffiti has never been a big motif among rappers. Busta Rhymes even guests on the remix to “C’Mon Wit Da Git Down,” but is verse is forgettable. Both El Da Sensai and Tame One are highly capable on the mic, but it is the former who frequently carries each track more than the latter. El has a flow that really gets you into a groove, while Tame One’s comical delivery and lyrics provide a nice counterpoint.

The production on “Rock” is simply top-notch. Beats from T-Ray and revered producer Buckwild give El Da Sensai and Tame One gritty beats that blend well with the lyrical content. The choruses on most tracks give hip-hop heads a good test of their ability to identify samples, with artists like Eric Sermon, Pete Rock, Redman, KRS-One, Jeru the Damaja, Biz Markie among others getting recognition. The heavy use of horn samples on most tracks put it squarely in that early- to mid-90s era of rap where most albums featured them. They are used to great effect here and mesh well with the booming beats.

While the similar feel of some of the tracks wear on the listener a bit towards the end, “Rock” is nothing but a consistent album. The duo comes correct on each track, and the serious flow of El Da Sensai goes well with the comedic delivery of Tame One, as do the quintessential East Coast beats. A highly underappreciated album.

The Artifacts - Between a Rock and a Hard Place

Between a Rock and a Hard Place Instrumentals (in m4a format for iTunes; only thing I could find)

Also, here's a track from Hard 2 Obtain's Ism and Blues album (another great one I might write about in the future) featuring The Artifacts.
"A Lil' Sumthin'"