The 50 Ways of MC Shan

I was just trawling through some old Hip-Hop Isn't Dead reviews and learned about an MC Shan song I never knew about before!  It's hard to believe, after all this time, that can still happen, but it just did.  :)  It's from 1993, and granted, once you hear what it is (and the image already gave it away, after all), your enthusiasm might wane a bit... The CD version of Snow's album, 12 Inches of Snow, has two bonus tracks including one with another MC Shan appearance called "50 Ways."

Now, Snow is not untalented.  His record's corny, and while I did enjoy "Informer" in an upbeat, no-brainer kinda way, I wouldn't otherwise listen to his stuff.  But he was cool on "Pee-Nile Reunion" and all, so I don't come out of the box hating on Snow.  There's potential for this.

Like the rest of Snow's album, it's produced by Shan... but while, by 1993, he had put down the pop music style for the more quality hip-hop styles of "Hip-Hop Roughneck" and "Don't Call It a Comeback," he was producing for a big, commercial act.  So it's more pop, yeah.  Like Kool Moe Dee's "50 Ways" before this, and Eminem's "50 Ways" just last month, the hook is a variation of Paul Simon's "50 Ways To Leave Your Lover," but where Moe Dee - and in a more altered way, Emzy - used Simon's break, too; this song just borrows the phrase for the hook.

The beat is actually pretty decent, though nothing you'll get excited about.  It's about them flexing their styles, which are a little unusual, because that's the concept - they have 50 ways to change their style.  They don't do fifty or anything, but Shan does do a different, slightly reggae-tinged style than I've heard him do on any of his own records.

Ultimately, and predictably, it's just mediocre.  But for serious MC Shan fans, hey, it's another Shan song, and he does get kinda nice here.  It's not as nearly as bad as I was prepared for it to be, or as boringly similar to other "50 Ways" (Newcleus also did a "50 Ways To Get Funky;" there've been a couple other rappers taking stabs at it as well).  It's respectably decent... for completists..

Mr. Circus Goes To Washington

(Youtube version is here.)

The Organized Konfusion With the Bonus Tracks

Back in the NY indie heyday of the late 90's/early 2000's, when great vinyl was getting pressed up and sold by the boatload over the internet, I remember Sandbox selling a double LP version of Organized Konfusion's self-titled debut with a whole bunch of bonus tracks on it.  I never bought it at the time, and it's always been sort of sitting in the back of my mind as a minor regret, until just recently when I picked it up from discogs.

Now, even outside of this release (which, by the way, I'm pretty sure is a bootleg, not a legit release... it certainly looks dodgy - that's not a bad scan, the labels are actually much harder to read in real life), there are already several versions of Organized Konfusion.  The original album on Hollywood BASIC was 14 songs spread over a single LP, so already it's a nice upgrade to get this album spread out onto a double LP.  If you got the CD version, it was 15 songs, because it included the original version of "Who Stole My Last Piece of Chicken?" from the single as a bonus track.  Interestingly, while this double LP has a whopping 23 songs on it, it does not include that other version of "Who Stole..."  And furthermore, it makes the curious decision to drop the skit "Jiminez Criqueta."  No big deal, because it's just a skit, but still.

So that means this version has 10 unique songs to it, not found on the other legit or illegitimate pressings.  They are as follows:

1) Freestyle Reality - This is actually not a freestyle, but a discussion on the art of freestyling, by OK and none other than the great Grandmaster Caz.  It's cool, though ultimately really just a skit.

2) Pharoahe Monch Freestyle - Just like the title says... a little short, but long enough for Monch to kill it acapella.

3) Prince Poetry (Written Freestyle) - Also acapella and also nice.

4) Organized Freestyle - A tight radio freestyle session.

5) O.K. Moodswing - This was an exclusive B-side to the "Who Stole My Last Piece of Chicken?" 12".

6) Stray Bullet - This is an odd inclusion, since it's a song off their second album. And this version isn't any different than the one on there. It just makes you wonder what it's doing here... but hey, it's a great song, so why not I guess?

7) Walk Into The Sun (Remix) - This is the remix from the "Walk Into the Sun" 12".

8) Drumstick (Bonus Beats) - The bonus beats from the "Who Stole My Last Piece of Chicken?" 12".  Odd they included this and not the original version.

9) Tender Verses - This is the Organized Konfusion Remix of "Tender" by Attica Blues that was released as a single in 1997 on Mo' Wax.  Good shit, and saves you the trouble of buying an otherwise crappy and expensive import release.

10) Intro Part II aka The Outro - a short instrumental sequel to "The Intro."  This is not the same beat as the "Intro," and I'm not sure where this one came from (maybe a genuine little treat from their unreleased vaults?) or why it wasn't included on past versions.  Still, it is just a short instrumental, so don't get too excited.

Ultimately, this is like a great Traffic reissue long before there were Traffic reissues.  Spreading the album over a proper double LP alone makes it a worthy upgrade over the original vinyl, and the bonus tracks just make it awesome.  Granted, there's no whole new, unheard songs... just freestyles and other rare tracks, but it's still pretty neat.  It is a shame, though, that they decided to leave off the skit and the other "Who Stole," since it kind of prevents this from being 100% definitive.  But really, neither are any great loss, and I imagine they used every inch of space they could get to squeeze all the exclusive bonus tracks, which are preferable.  I mean, if I was in charge of the project, I would've left off "Stray Bullet" to make room for those two songs, since it's readily and naturally available on their second album.  And I would've left off the Bonus Beats to to make room for the remix of "Fudge Pudge."  But, regardless of how I might've made this project even better, this is still the best version of Organized Konfusion, an already great album.

Kool G Rap & Nas "Holla Back" - The Protoype?

I've done a pair of pretty thorough posts on the many, variant tracks left off the commercial release of Kool G Rap's Giancana Story on Koch Records, here and here. But, you know, there's always another little piece of the puzzle to be found. And today's bone fragment that I've linked to the giant, Tyrannosaurus skeleton (really, Giancana Story's a great album if you gather up all the pieces besides what you just get on the 2003 CD) is a neat white label 12" featuring an alternate version of "Holla Back" featuring Nas.

Now, before you cut me off and tell me you already know about the "Holla Back" version with Nas, allow me to point out that this is another version featuring just Nas. Now, I've already talked about the more well-known, unreleased version of "Holla Back" and how it differed from the one on the final Koch album. Here's the break-down of those two versions:

11) "Holla Back" with Nas, Nawz & AZ - Yeah, this was featured on the album. But the leaked version had Nas kicking the first verse instead of Tito of, believe it or not, The Fearless Four. Nas seriously came off with one of his tightest, illest verses, too ("Throw niggas off yachts, hold niggas with shots, my bitches ran 'cause I'm stupid - I put the shit on digital cam. Light up an ounce, let my bitches watch it on television, hella relentless. Fifty a pop, sell it like Menace. When I sleep, all I see is a white skeleton image. It's telling me something... I opened up Shakespeare's tomb, stole his remains, grinded his bones and got in the game"); so it's a real loss. This version was only featured on the leak. The Koch version also remixed the beat adding a few extra samples and bits. None of it makes up for the loss of Nas.

But there's also this white label 12", which features its own, unique version of "Holla Back." The main difference? No AZ or Nawz, and no Tito either. This is strictly a duet, making it a more fitting follow-up to "Fast Life," going right from Nas's killer verse to G Rap's. Now I'm not mad at the other guest verses (especially AZ's) so it's not a "yay! they're gone" situation; but it does turn a sort of awkward posse cut that takes too long to get to G Rap's part into a concise heater with just the two greatest verses from any version of the song.

But that's not the only difference. Where the original version and the Koch version feature someone (I think Nawz?) doing a spoken intro starting out, "yo, it's 2G" etc, this one has its a different intro. This version starts with Nas explaining how Kool G Rap inspired him. Then G Rap gets on to tell us to check out these tracks, and then we're right into Nas's verse. I actually think maybe this intro was recorded specifically for the 12" (which also furthers my suspicion that this white label was a promo release from Rawkus and not a bootleg), but it is blended into the song.

And this 12" has some nice bonuses as well. It features three freestyles which decidedly don't sound like radio or mixtape rips. The sound is clean and professional and I'm guessing they were recorded for this 12". Two feature Ma Barker (natch) and one features him going over the "It's a Demo" instrumental. All three are pretty nice - G Rap kills it on all of them. My favorite is the one titled simply "Unreleased."

Then, the B-side features the Jagged Edge song "Ride On," which features Kool G Rap. Produced by The Trackmasterz, it features them singing over pretty much the same instrumental The Arsonists used for "Venom," so it's pretty hot. Like the more official 12" Rawkus put out of this song, it features Clean, Dirty and Instrumental versions. But only the other, separate "Ride On" 12" has the acapella.

All in all, this is a pretty sweet 12" with a lot of value, considering it has "Ride On" and the three exclusive freestyles. And for me, this is probably the ideal version of "Holla Back" with just the absolute tightest verses on it. But even if you decide you'd rather have the version with the extra AZ and Nawz verses on it (I can't imagine anyone deciding they'd rather have the Koch version which excises one of Nas's illest appearances), this is still an interesting historical artifact. If you see it, pick it up.

Think Of This as a Master Ace and Asher Roth Album Produced Entirely By DJ Premier

So, if you've read some of my recent write-ups on albums by One Block Radius and Pissed Off Wild, you're probably thinking you can anticipate my thoughts on 13 & God's brand new album, Own Your Ghost.  Werner just hates rappers joining forces with bands!  And honestly, that's not a bad rule of thumb.

After all, let's face it: you're a rap producer, digging for samples or playing around in pro-tools, and it occurs to you, "hey, my little brother plays drums!  That fan I met at my show said he plays guitar!  Why am I sitting here making beats this way when I can have my own, live musical ensemble?"  But here's the thing - is your fan really going to come up with a loop tighter "Nautilus?"  Is your little brother gonna bash out out something tighter than "Funky Drummer?"  Probably not.  Instead, you're probably going to wind up rhyming with a half-assed garage band that wouldn't even be getting gigs at your local bar without your hip-hop co-sign.  There's a bajillion mediocre to terrible rappers out there, so when we find one with some real talent and stand-out quality, it's exciting... and disappointing when they keep passing the microphone back to some inferior collaborator for half their songs.  I'd probably love a dope MC rhyming with The J.B.'s, but most rappers seem to be going for the bands in shortest reach, not auditioning for the best in the world.

And I said all that just to say, I actually don't feel that way about 13 & God.  This is one of those instances where the band and the MC are both talented and interesting enough to deserve our attention, and the music of The Notwist (the part of 13 & God that isn't Themselves) are a really good fit for Dose.  This doesn't feel like Dose compromised or "find the good Dose contributions amid a sea of substandard music."  This is original and compelling work from the whole crew (the fact that Jel is still involves has to be a large part of how it all manages to work, I'm sure).

But, unfortunately, there is one large caveat.  Marcus Archer, the lead singer of Fog and the other vocalist of 13 & God.  I admit, when they've all got the lyrics, the music and the groove working 100% just right, like on the chorus to "Men Of Station," he can sound fine.  But otherwise, I'm not trying to make the guy feel bad or anything, but I just don't think he should be singing.  He works in that one instance where literally anybody - your grandmother, even - would sound good singing that segment, and that's it.  He's not even a good hook man, let alone somebody who should be singing whole verses and taking songs on solo.

As such, and as will always be the case I suppose with 13 & God releases, you're going to find yourself skipping the Marcus parts.  And, unfortunately, the Marcus-to-Dose ratio is pretty heavy on the Marcus this time around.  So if you're not in a situation where you can easily skip around songs and parts of songs while listening to your music, you'll just wind up having to listen to something else.  Which is a shame, because when they're cooking, like on "Sure As Debt" or "Death Major," they kick ass.

The vinyl presentation is pretty kick ass, too.  It's a single LP, but that's alright since it's kind of a short album anyway, and comes in a cool picture cover.  It comes with a fold-out insert with all the lyrics and some additional artwork (printed lyrics are always welcome, but especially on any project that Dose One raps on!), and also a download card for a free mp3 version of this album.  Anticon continues to get that right.  =)

So, think of this as a Master Ace and Asher Roth album produced entirely by DJ Premier.  The one MC is great, and the musical backing is safely on point.  Does the other vocalist keep you away?  Your answer to that question will determine whether or not this album is for you.  If it helps you decide, there are one or two songs which are essentially Dose solo songs.  For my part, I'm quite happy with the purchase.

The Dopplegangaz

I just caught on to The Dopplegangaz, thanks to a well-placed Youtube link... though in retrospect, I realized Robbie included them on his Unkut mixtape; so I should've started following them last year.  Oh well; better late than never.  Coming out of New York, it's a two man team of Matter ov Fact (MC) and EP (MC and producer), and I timed my discovery pretty well, because I was able to pre-order their latest album, Lone Sharks just a few days before it dropped, and here they are already in today's mail.

The Dopplegangaz remind me of The Beatnuts, in the best possible sense.  At first, they might seem a bit silly and gimmicky - they wear hooded robes and the titles to some of their songs sound like straight-up horrorcore tracks.  But just like The Beatnuts, no matter how tempted you might be to just write them off, you can't because, while they're not the best lyricists in the game, their rhymes are pretty smart and their beats are beyond reproach.  The juvenile subject matter and robust sounds of "Like What Like Me," for example, is a seriously bugged combination.  They might not crack the mainstream market, but heads who appreciate the real talent will have to give it up.

Heck, let me just throw up that Youtube vid real quick.  They actually have a bunch of good videos, so go ahead and dig around their channel after this; but this is the one that led me to them earlier in the week:

And while I was scoring Lone Sharks, I also picked up their first album*, Beats for Brothels vol. 1.  Like its title suggests, it's essentially an instrumental album, with the only words being a handful of well-chosen vocal samples over the beats.  It actually takes me back to my old days listening to Dynamix II tapes (Holy cow! Was this my first Dynamix II reference on this blog?  Yee-ha!  And it only took me four years!  hehe).  Some of the tracks are pretty dope, and others are great!  "Chants" is a killer, at times reminding me of Mr. Green's "Children Sing" but without getting too similar that it feels derivative.

And it's not strictly an instrumental endeavor, which is great if you're like me and are quickly bored with hip-hop instrumental releases.  The album rounds out with two fully-fleshed out songs with vocals and all, "Digging" and "Dopplegang Affiliation."  This album's a great collection of instrumental production that aficionados with an ear for hot beats and samples will definitely want to check for.  But honestly, I pretty much just bought it for these two songs... and I was not disappointed.  By the way, the instrumental versions of both of these songs are included here, too.

My only complaint is probably one most of their fans will share, considering who their target audience must surely consist largely of diggers and purists - no vinyl.  Both their albums are CD only, though you have to expect that from up and coming artists who're just breaking and putting out their music themselves.  But, maybe if they're reading this, I could tempt them on the idea of a limited run EP of their best six or so tracks?  Because, as you've probably noticed, I love all kinds of hip-hop... but this is really the kind of gritty, sample-driven stuff you want to have on vinyl.  I love my Madball & Uzi albums; but honestly, the CDs are enough for me.  But this stuff would sound heavy on wax.

In the meantime, though, I urge you all to check them out online and support their new CD release.

*I say "first," but they do have a pair of previous, mp3-only releases that you can download for free from their website, thedopplegangaz.com (that's where you can order their albums from, too), and another mp3-only instrumental compilation called Rhyme Over Beats, which you can still download if you google around a bit.

Pissed Off Mild

In 2004, Josh Martinez debuted the title track to his upcoming, self-titled album with his new live band, Pissed Off Wild.  And just seven years later, as off like a week ago, the album's finally come out.

The initial "Pissed Off Wild" appearance was on a label compilation album called New Recruits, and the band consisted of Josh on vocals, Peter Schmitt on bass and Kenten Loewen on drums.  In a 2009 interview with AWMusic, Josh concisely explained the impetus and concept behind this new group, "A live band that wasn’t like a cheesy Roots knock-off, that had it’s own sound and really widened my ability to tour and gain more festivals or bigger venues and play with rock bands. I just wanted to be able to have more looks and I listen to a lot more music than underground hip hop and that’s what was inspiring me. Having a live band was important to me to show I was really musically inclined and not just a rapper, it was a personal thing to not be pigeon holed because I could see that the window was narrowing."

Well, so like I said, that original "Pissed Off Wild" song does appear as the title track to this, their 2011 self-titled album, though some things have changed since then.

Firstly, the band is now a 4-man ensemble, with guitarist Jesse Waldman added to the mix.  And second, the band is actually no longer an ensemble at all anymore.  As the liner notes inform us, "By the time the Pissed Off Wild record was done, so was the band. Jimmy quit. Joey got married."  Yup, Pissed Off Wild is finished, and this album is their legacy.

Oh, and one more thing has changed since New Recruits - the song itself.  Lyrically, it's the same, but musically it's been quite revamped.  The original had that live band feel, sure, but it was smooth and laid back.  Here it's rocking, and all the good and bad things that term entails, with grinding guitars and Martinez shouting into a distorted microphone.

The song "Outlaws" that they recorded for the 2006 compilation album, Hue and Laugh and Cry is also on here.  But, curiously, the song from Camobear's 2007 label sampler, "The Pirhana" is absent.

Anyway, I don't know much I even like this album... it's another in an increasingly long list of cases where a talented, noteworthy MC reaches out to other indie artists who aren't nearly so outstanding to band together and for an uneven, mediocre project with more crossover appeal.  It's like Buck 65's last album, or those Z-Man albums I just reviewed a couple weeks ago...  Hell, Josh has even done this before with his other group, The Chicarones.  Yeah, Josh and Sleep have made some decent songs together; but you know who makes better ones?  Josh without Sleep.

So yeah, this is all kinds of garage band rockish.  It mostly sounds noisy and kind of annoying, and while Josh can still be a compelling writer/vocalist, you really have to strain to appreciate the good in a lot of these songs.  He also uses this album to experiment a lot, which sometimes results in some interesting twists on his vocal styles, and sometimes it just sounds like somebody who can't sing taking over the karaoke mic at your local bar.  Some songs are better than others, but at the end of the day, I just wanna hear Josh over some dope beats by Moves and Jel and those guys.

This album isn't terrible.  And if you're a serious Josh Martinez fan and you go in with tempered expectations that this won't be the next Buck Up Princess or World Famous Sex Buffet, you won't be disappointed.  But it was really more comforting than sad to read that this album is the closing of a chapter and not the beginning of one.  I know Josh said he wanted to branch out in ways like this to have more looks, but this... just isn't a good look.

Return Of the Funky Cassette

(Youtube version is here.)

Recognize & Realize

In 1995, Bay area legend JT the Bigga Figga was starting to take off nationwide. He'd been putting out albums for a couple years, but by 1995 his album featured by stars like E-40 and Master P when they were at the pinnacles of their careers. Dwellin' In the Labb was the first JT album I picked up, and that was 1995, too. And '95 was the year he put out his first Get Low Playaz album, where he spotlighted whoever he was working with at the time on his label, Get Low Recordz. Really, the distinction between a JT album and a GLP album was pretty thin, since they were both largely compilation albums featuring different MCs over his production interspersed with multiple JT solo tracks.

Anyway, it was the final song on this GLP album (Straight Out the Labb) that featured the debut of one Black Nate, with his song "Recognize Me." That appearance was quickly followed up by Nate putting out his first EP, Recognize Me, on his own label, 4 tha Geez Records. I say EP, but it's sort of borderline... It's 9 songs, but one is a 20-second skit, and most of the songs are on the short side. So, maybe it's more of an LP, but it's a very concise listen either way.

My version's the cassette, but there are also vinyl and CD copies floating around out there.

The original "Recognize Me" isn't on here - that's exclusive to Straight Out the Labb. This E/LP features a new remix, not produced by JT this time around, but by Les G, who's done a lot of work with Bay-area artists over the years. Here, he speeds up the vocals just a smidgen and makes the whole thing a lot more high-energy.

Les handles pretty all of the production duty, and has gone on to work with Nate on future projects, too. Reggie Smith, another CA producer who stays working, and JT also get in a track each, however. The production is pretty much that Dre-inspired, studio-created, sample free sound you'd expect from a project like this. I mean, there are samples: "So Much Drama" samples a signature line from Marvin Gaye, for example; and "What Would You Do If You Had Mail"[featuring D-Moe tha Youngsta, fresh off his tough debut, Do You Feel Me?] uses a classic, filtered bassline that sounds great in the intro, but then is quickly drowned out by synths. "Black Nate Don't Playa Hate" also takes a classic soul sample and then drowns it out in other gangsta rap sounds... that's really the worst song on here; a failed fusion, like an experiment gone wrong; but it's also an anomaly, so I won't harp on it. Ultimately, though, you don't notice many samples and it all sounds like keyboards, slide-whistles and programmed sounds. So if you looked at this cover and immediately thought, "I hate that type of music," you're right - it's exactly that kind of rap music and you probably won't like it.

But if you enjoy the genre, it's a pretty dope example. Imagine a No Limit album, but without all the cheesy "Dear Mama"-sappy songs, crossover attempts, awkward collaborations, and embarrassing appearances by Master P exclaiming "UUGGHH!!" that ruined so many of their projects. Imagine instead what those albums should've been. Black Nate isn't the most attention-grabbing lyricist. He doesn't have a lot of stand-out punch lines or rap terribly fast or anything. Even JT has a much slicker flow. But he manages to do entire albums without saying anything corny and ridiculous, which is a lot more than most rappers seem to be able to say, including the biggest names of today. He just comes real with it, often autobiographical and earnest, no BS. There's a reason he stood out on the GLP album, even without any gimmicks. He's simple and straight-forward, but compelling.

And the production is solid, too. Yeah, it's all in that style I talked about above... but you can do that style poorly or you can do it well, and these guys know how to do it right. Plus the drums are nice and hard. I don't think very many heads could front on "Sticky Green & Vodka," with it's dark, cool vibes, and no hook. Even the staunchest New York purist might say the style doesn't suit them and would pass on buying the album, but they couldn't diss it.

So now you might be surprised to hear that Black Nate is still around. He's been putting out albums completely independently over the years: Debiase, The Natrix, Fully Resurrected, Time To Eat... He's done a few appearances and compilations, and he's pretty active now online: here's his twitter and facebook. He's still putting in work & releasing music, so, like, you know... recognize him.

Beats Rhymes & Life: The Travels of a Tribe Called Quest

I've certainly been interested to see Beats Rhymes & Life: The Travels of a Tribe Called Quest since I first heard of it, but I can't say I've been as anxious as a lot of heads seem to be. For one, I've always liked A Tribe Called Quest, but they've never been a personal favorite. Like, if you told me there was a collection of never before heard, vintage Tribe Called Quest tracks behind Door #1, and never before heard vintage Juice Crew tracks behind Door #2... you would have to remind me next week what the heck was behind Door #1 again. That's just where I'm coming from as a fan.

And the other thing is that: we've been hearing about this movie for ages, but every blog or article everywhere has been on the drama between the members. Either they're calling each other out in the press, or they're holding the film back or boycotting the screenings, or half of them are calling the other half out for holding the film back and boycotting the screenings. I love hip-hop music. Celebrity gossip, on the other hand, I'm not into. And it's not so much that I couldn't separate the hype from the actual film, so much as I was worried that the actual film would just be more of the hype: two hours of each member sniping at the others. Turns out that fear was somewhat justified.

It's not a good sign that the film starts out, even before the opening credits, with dramatic pull quotes of the members arguing about each other and the break-up, and then cutting to a frustrated Q-Tip talking about how they'd never perform together again. But then, once the credits roll, that was all but forgotten. For the next 45 minutes or so, we had nothing but a fresh retrospective of the career of Tribe, with in-depth interviews with members, managers and other artists. All their highlights are covered, their early lives, behind-the-scenes introspection so even the biggest Tribe fans will find themselves learning new insights into the group. We get into Phife's health problems and Jarobe's life outside the group when he "boated" after the first album. This is easily one of the best hip-hop documentaries I've seen, and I highly recommend it.

But then, yeah, the film gets too side-tracked by the drama. Don't get me wrong, I'm not saying the film shouldn't have covered the break-up or the animosity the members (mainly Tip and Phife) felt for each other at different times... If all of that was skipped over, I would've accused this film of white-washing and being just a shallow press piece. But the film just lingers on it, and we watch so much footage of them just arguing over absolutely nothing and calling each other out over and over. It just feels like the filmmakers thought, "this is where the money is" and included every ounce of footage they could squeeze out of the drama, whether it was worthy of inclusion or not.

And that's all the more frustrating because of what was left out. Only one of Tribe's managers is given one single sentence to bring up how J Dilla was brought into the production team for the final album, and fans were curious what Consequence was doing there. No one answers that question or addresses these topics, or how that changed the dynamics of the group. There's a super-short, maybe 30 second, clip referencing Tip's solo career (he mentions he was surprised to be getting 5 mics), and from watching this documentary you would never even know that Phife put out solo records. Tip's solo album that was unreleased for so long and was such a controversial mystery in hip-hop? Unmentioned. Ali's album on Penalty Records? Unmentioned ...though there is a single sentence where he mentions his group Lucy Pearl. But a single name-dropping sentence is hardly deep documentary filmmaking. And all the great hip-hop nerd stuff we'd love to see answered, like the many versions of "Scenario," with different MCs on them? Unmentioned.

It seems like the second half of this documentary was discarded in favor of celebrity gossip. And maybe commercially that was the right decision. It's certainly giving the film tons and tons of press and message board action. But artistically, it's a let down. Of course the break-up had to be in there. The war of personalities was, in some ways, the heart of the story. But when we get into a drawn-out segment of them arguing over how Phife nudged Tip while walking on-stage but it might've been too much like a push... I feel like the great documentary has been switched off, and somebody's changed the channel to a trashy reality TV show made for the E! channel instead.

At the end of the day, though, this is still the most substantive documentary on Tribe we'll ever get, and one of the best hip-hop documentaries the film world has produced so far. And I'm betting/hoping, when the DVD finally comes out, there'll be plenty of bonus footage that covers most of the subjects they trimmed away in order to make room for the drama; and then we'll really have a definitively rewarding Tribe documentary on our hands.

Royce da 5th Wheel

In 2004, Royce da 5'9" released a 12" - on Koch no less - produced by DJ Premier. It was the lead single off his Death Is Certain album, released that same year. The 12" was pretty loaded - it had the instrumental, tv mix, clean and dirty versions, and even clean and dirty versions of the acapella. But it was just that one track, no b-sides or remixes.

But in 2005, another 12" appeared... on a label called Major Threats with an exclusive remix. It was one a posse cut remix, a la "Flava In Ya Ear" or "I Got Five On It," with some high profile guests. I mean, really high profile guests. Would you believe Big Pun, Notorious B.I.G., Big L and 2Pac? And of course, if you're any kind of hip-hop fan, you've probably already noticed one other thing all those artists have in common.

You might think it's awfully presumptuous for Royce to retroactively put himself alongside hip-hop's most revered and honored legends, and I wouldn't disagree. But mostly I just find the endeavor kind of morbid. Of course, none of the guests' contributions are anything new to their fans... Even by 2005, pretty much everything they'd recorded while they were alive had already been released and sold to the public. So we get a bunch of recycled acapellas kind of sloppily slapped onto a new piano-heavy beat, this time produced by Statik Selektah (though Premier's scratching is still used at the finale).

Pun's verse comes from "Leather Face," L's verse comes from "Flamboyant," Biggie's verse comes from "Party & Bullshit" and 2Pac's verse comes from "Homeboyz." Royce's verses (one opening verse, and a mini-one in the middle) are at least all-new (which shows, by the way, he was 100% involved with this conceptual remix); and to be fair, Selektah's beat is pretty nice... But honestly, this song just makes me think how I'd rather be listening to "Leather Face," "Flamboyant" or "Party & Bullshit." There, the verses fit in better with the music, and having Royce on the record to introduce MCs like Biggie really isn't an improvement for me.

Now, I think Major Threats may've been Statik Selektah's label, because in addition to producing this and the B-side (we'll come back to that in a minute), the only other release I know of from this label was another 12" with more of his exclusive remixes. But what's interesting is it also featured another contemporary (for its time) song remixed to include recycled verses from Biggie and 'Pac. This was apparently Major Threats' "thing."

But anyway, getting back to this release, we flip it over to find another Statik Selektah remix, this time of Method Man's "What's Happening" featuring Busta Rhymes. It basically just lays that acapella down over the instrumental for "Know the Ledge." It feels a bit like a cheap mash-up, but I have to admit the combination of Meth's flow over that epic running bassline is pretty hot. The original version of "What's Happenin'" (as it was spelled there) was on Tical 0: The Prequel; and yes, Busta was on that version as well.

This record features Clean, Dirty and Instrumental versions for both tracks. This Royce remix was also featured on one of his mixCDs, The King Is Back, mixed by Statik Selektah. Now that CD just barely features any mixing really (yeah, it was another one of those), so you're not actually getting much extra with the complete version on this 12". But, still, if you think "Hip Hop (Inspiration Remix)" is worth owning on vinyl, this 12" is the ideal presentation. But, now that time's passed and we evaluate what does and doesn't warrant a place in our collections, I think whatever merit this record has basically just rests in its value as a curiosity piece.