And the Award for Most Pleasant Surprise Goes To

CSJQ is one of the many groups we've never heard of who us bloggers only find out about when we get promotional e-mails in our inboxes. But this one immediately made me take a second look because of the line up: Clayton Savage and JayQuan. And if those names didn't make you take a second look just now, I'll explain.

The email (and their website, press-kit, etc) claim Clayton Savage is one of the Furious Five. Probably, your first reaction is: hey, I can name all of the Furious Five - Mele Mel, Scorpio, Rahiem, Kid Creole and Cowboy - and Clayton ain't one of them!" Ah, but what about after they split up and formed two separate groups? There was a new Furious Five line-up then, right? Well... you're closer. Rahiem and Creole stuck with Flash and formed a new five-man group of MCs with new members Broadway, Lavon and Larry Love (of the famous "Larry's Dance Theme"). And Mel had his new Furious Five, which was made up of Scorpio, Cowboy and new members King Lou, Kamikaze and Tommy Gunn. All of whom... still don't include Clayton Savage. So I daresay they're stretching the truth a bit by calling him a member of the Furious Five.

But it's not an entirely bogus claim or anything. When the original Furious Five were making records on Sugarhill, they recorded with The Sugarhill Band (Fats Comet)... and when the groups divided and Mel's new formation of the Furious Five started putting out records on Sugarhill, one of the key musicians they worked with was Clayton Savage. In fact, on one single ("We Don't Work for Free") he's downright competing for the title of lead vocalist with Mele Mel. He also put out a solo album in 1986. So while he may not technically have ever been one of any of the Fives, he's certainly an established old school artist with a genuine legacy. And he's someone who perks my interest when I hear he's got a new hip-hop project coming out.

And that's just one of the guys - the other's story is just as interesting. Jayquan is the founder of The Foundation website. You've heard me sing its praises before... if there was a nuclear war and I could only save one hip-hop website, it would probably be The Foundation. And hes an MC who I've covered before with his 12" featuring Mel and Grandmaster Caz. He has a musical legacy that goes back, too - during the heyday of the indie 12" scene in the mid 90's, he was a member of The First Sons, and even put out a record as far as back as 1987 as one of The Too Def Crew. ...So, if nothing else, this new collaborative project is going to be an interesting footnote in hip-hop history.

But, fortunately, it's not nothing else. Like the title says, their four-song debut EP, The Life, turns out to be quite a pleasant surprise. Yes, after all that back-story, we're finally getting to the music; and I'm happy to report that the music lives up to the back-story. What I like the best is how they manage to make something that takes elements from every era of hip-hop, bridging the gap from the Sugarhill Band days to Pink Friday; and it all works. It's got rich and varied instrumentation thanks to Savage, who also sings in a couple different styles, that has a lot of old school integrity but sounds modern enough that if you replaced Jay with Drake (for Drake's name, not his MCing skills), most of the songs could easily be one of those break-out hit singles on Youtube with the kids. But one difference is that Jay stays a straight rapper on here - not in terms of his sexuality, but in the sense of pure MCing without all that sing-songy autotune, computer generated stuff (though they do utilize ALL of those tricks and more for Clayton's vocals).

Not that it's entirely flawless... sometimes Jay's rapping might be a little too straight, by way of being generic. A little boost in the writing, Kool G Rap or Rakim style might go a long way. And one of the songs on here, "Beautiful Girls," feels under-cooked. Musically and lyrically, it's just not quite up to par with the other tracks on here. I think they maybe should've kept tweaking this one in the studio for a while before releasing it alongside the others. Of course, that's not because it's bad, but because they set the par pretty high with the other songs.

And there's a reason I thought of Pink Friday when I first heard this, and not just because they share some really engaging musical vibes. The hook to the EP's title track, "The Life" ("I wanna live the life... the life... the life") sounds so much like the one for "Moment 4 Life," that if this song ever did become a break-out hit, I'd be quite worried about hearing from Nicki's lawyers. But, hey, that hook sounded good then and it sounds good now, so as a listener and not a copyright attorney, I'm not mad..

So, you get four songs total on this EP, plus a Clean Version of the song "F.U.N." The language censored from the Clean Version runs right through the chorus as well as the rap verse, however, so I'd skip that one. Kinda ruins the whole thing. Fortunately the Explicit Version's here too, so it's not a drama. This is primarily an mp3 release (boo!) but you can get CD hard-copies from CDBaby.com, which is what I recommend.

The Doorbell Rap

Black, Rock and Ron released a hard, highly regarded album in 1989 on RCA Records (in fact, it's recently been released). They mostly produced their own material, but they did have that Midas-like connection with Paul C, plus a famous remix by Prince Paul. They had several singles and videos, but I guess they didn't quite break that mainstream sales barrier for their label to commit to a second album.

But their legacy isn't entirely limited to their all-too brief time RCA. See, before RCA, they were signed to Next Plateau, and even appeared on one of Red Alert's famous mixtape albums. Now, the single they released on Next Plateau ("That's How I'm Living") was carried over to their RCA album, but there's more to the story than that. Because they were signed to Next Plateau before they even became Black Rock and Ron. They released their first single under the name Vicious Four.

"Hard Rap" was released in 1986, and here's the first thing you'll surely notice about this. They sampled a doorbell. It's got your traditional programed drums, hand-claps and other funky sounds - it's a dope beat. But the signature tune they play on the hook is obviously the chimes of Big Ben as played by a doorbell. The people I house-sit for have this doorbell; it sounds exactly the same! It's even got that slight distortion towards the end of the refrain. I mean, this was the mid 80's, where it wasn't at all uncommon to have rappers rhyme over interpretations of cartoon and sitcom theme songs, so it doesn't sound that ridiculous (at least, comparatively) to hear these sorts of tunes in a rap track - they do actually pull it off, I have to say - but I'm still pretty sure these are the first guys to rap over a doorbell.

Now, this record does bring up a question I can't answer. Black, Rock and Ron are obviously a three man group. So who is the fourth on this track? Lord Black and Master Rock are the lead and only MCs here just like they were on Stop the World, and they repeatedly shout out Ron Scratch as their DJ. ...They don't name anybody else. Only Black and Rock get writing credits, and Rock did the production. It seems to be a very clear-cut three man operation. But they're calling themselves Vicious Four! Who the Heck is the fourth?? I think it can only be the doorbell.

They've also got another song on here called "Huffing N' Buffing," a more narrative-style song, where they relate various anecdotes of people working harder rather than smarter. It's fun, sort of a bemusing precursor to "You Be Illin'," with a slow, bassy keyboard riff over a beat that's otherwise very reminiscent of "Hard Times," particularly in its use of aggressive, isolated hand-claps. It's fun, but these little story raps are never (with the admitted, rare exception) as engaging as songs like the A-side, where they just spit their hardest.*

If you listen closely to the track, you will hear some silly, out-of-breath human beatboxing mixed into the track. I assume it's to illustrate the "huffing and buffing" of the title, but possibly whoever performed this is the mysterious fourth guy? Ha ha. I mean, I'd assume it's just one of the three members who recorded it real quick, but damn it, somebody's gotta be the fourth!

Anyway, this isn't a hard record to track down, and it's well worth it. It's definitely got that Hollis sound. And while it does sound more "old school" than their RCA material, it's no less fun for that fact. Both instrumentals are included on the flip.

Shanté's Tape

(Youtube version is here.)

The Year Of the Hip-Hop

(Youtube version is here.)

Queens of Civilization are On the Mic.

Since the very beginning, hip-hop has had its share of strong sisters. From Invincible today to Lady B back in 1979 - hell, we can take it back even before hip-hop was recorded music, with the likes of Sha Rock and the Mercedes Ladies - forward-thinking females MCs have been spitting hard enough that I believe they can take genuine credit for advancing the feminist movement in the global culture. But interestingly, when you say "feminist rap song," the exact same rap will immediately come to everybody's mind. It's not the first, and it's not the most recent, it's just... the one.

"Ladies First" dropped in 1989, and it's as terrific now as it ever was. It made the careers of both its MCs, Queen Latifah and Monie Love. Eleven years later, Latifah even titled her book Ladies First. Latifah showed us a whole other side to her from her previous, clubby dance tracks, proving she could be the lead vocalist on a rap song equal to the genre's all-time greats. And while "Monie In the Middle" is a fun crossover record with a brilliant instrumental, this is easily Monie Love's best performance of her career.

But as much, if not more, credit needs to go to the DJ Mark the 45 King for laying down one his best, all-time instrumentals. In many ways, it's right out of the King's playbook: a funky break with random, dusty horn samples he unearths and brings to the table over and over again, always to the our delight. But here he takes different horn samples, from different records of different styles, and together they form something even stronger than most of his other records. Some are blaring, turning the hook into a rallying cry, and others are funky loops that couch the vocals. All that paired with a live, thumping bassline played by engineer Shane Faber, adds up to one of hip-hop's all-time great instrumentals. And then it's really no surprise to see the great Paul C's name turn up in the credits for this one as well, since he seemed to have a hand in nearly every true classic from this period.

Now, I've heard it said a few times, on the internet, that "Ladies First" was written by Apache. This is usually pointed out by a male making the bigger point that: ha ha, these women needed a man to write their big, feminist anthem. I don't know if that's true or not, but there are writing credits on this 12", which credit several people, not including Apache. Specifically, they credit Latifah, Monie, The 45 King and Shane Faber. So, I would assume Latifah and Monie wrote their own lyrics, and 45 King and Faber are getting credit for the instrumental, and dismiss the Apache thing as internet rumor, except I was able to find something to support it. According to discogs, two pretty random compilation albums* credit Apache as a writer, alongside Latifah, Love and 45 King (but, interestingly, not Shane Faber). Of course even in those cases, Monie and Latifah are still credited as writers, but it does lend some credibility to the notion that he at least had a hand in it.

Still, there's at least one lyrical moment Apache night not have wanted to take credit for even if the ladies were willing to give it to him. That's because this song is one of those rare, infamous examples of misspelling in a rap song, ranking right alongside Warren G's "What's Next," when he famously asked, "what's N-X-E-T?" In this case, Monie Love ends her final verse by saying, "And next up is me, the M-O-N-I-E L-O-V-E; and I'm first 'cause I'm a L-A-D-I-E." I hope nobody reading this actually needs me to point it out, but the singular of "ladies" is in fact "lady."

That embarrassing gaff aside, this is one of hip-hop's purest, most perfect song. I mean, how could anyone ever hope to improve on it? What more could you ask for, a Crazy Extended 45 King Remix? Oh shit. The 12" has a Crazy Extended 45 King Remix on it!

Wisely, this 12" doesn't replace the already ideal 12"... it just adds a few things. Stab scratches, Malcolm X vocal samples, an extended opening (the famous "muuuusic 45 King, muuuuusic Latifah and the King, muuusic from a nation supreme" acapella that King would re-use regularly), all just help make the proceedings even hyper. It's over a minute and a half longer, and while it may seem a bit excessive during the opening - the chorus repeats and the beat rides for almost too long before the MCing kicks in. But you'll be glad for the extra length at the end of the song, when it allows for an extra, all-new verse by Latifah:

"Step out into the night;
Queens of civilization are on the mic.
The scene is ripe; the crowd is hype.
I expel the wack and those who bite.
Why? 'Cause I'm that type.
Swaying with beats 45 King style;
He wants me to sing but I'll swing, so meanwhile,
A footnote for the opposite sex:
Monie ripped the mic; I rock it next.
Flex - you'll never catch me at my worst.
You catch the drift? It's ladies first!"

Latifah's debut album was already a crate staple thanks to songs like this; but the remix makes this an essential 12" as well (plus, picture covers never hurt). And what else is on here? Well, there's the LP and a slightly tightened Radio Version. The Instrumental is on here, and if you care about instrumentals at all, this is definitely one to own. And finally, there's the Queen Latifah - Monie Love Bonus Beat, which has the pair shouting out the top female MCs of the day over the break, with Latifah using her silly French accent from her cameo on De La Soul's record. It's short, and they could've just edited into the ending of the Remix, to make it even more Crazy and Extended. But whatever - this is definitely one of those 12"s you just can't complain about.


*1990's Tanz House 2 on BCM Records from Germany and 2004's All That Urban on Warner Bros from Australia.

Jersey Engineering

The latest release from DWG is finally here, and this time it's... Emskee The Complex Engineer? Who's that? Well, if you've been picking up the Nick Wiz double-CD compilations (and if not, you should be), he's already been introduced to you, "this was my first artist I produced for when I started making beats." On volumes 1 and 2 (Emskee isn't on #3), the Emskee tracks were demos they recorded together for Emskee, who was looking to get a deal. ...But it turns out those tracks weren't the the sum of his demo material.

DWG has unearthed a whole boatload of additional, vintage material from Emskee, Nick Wiz (then going by the name of Kayzee the White Soul), and their DJ, Slyce. And the first record they pressed up is DWG011, The Complex Engineer EP - six killer demo tracks (none of which repeat the tracks from the Nick Wiz albums... even though that would've been welcome, anyway, just so we could have them on vinyl, too). Most are produced by Wiz, but one or two are actually by Kid Capri... See, Emskee was hired to ghostwrite for Capri's second album on Cold Chillin'. But that album wound up getting shelved, so he used that material for his own rhymes (these were just demo tapes, after all, so it's not like he was screwing over Capri or anything).

So, here's what you'll notice as soon as you lay this on your deck. First, Emskee has a direct, forceful flow. Not that he's all Waka Flocka on here; but he has a distinctly tough way of enunciating every syllable. And the other thing you'll notice is that the beats here sound busier than Wiz's usual, minimalist tracks, where he seems to boil everything down to one smooth loop and a drum track. Here shit's always happening, and it goes a long way in keeping the tracks energetic and alive.

So that's DWG011, which is limited to your standard (these days) 300 copies. It comes in a sticker cover and, as always, comes with an informative press sheet. Naturally, I recommend it. ;)

But that's not the whole story here. For the more hardcore collectors, they also released DWG012 at the same time. This one's extra-limited (175 copies), is pressed on dope, marbleized dark blue vinyl, and also comes in a sticker cover. This one was off the market already even before it was released, so you'll have to go a little further out of your way to track it down now, but it's cool.

DWG012 doesn't consist of more demo tracks, exactly. It's actually eight radio promos that he recorded for different hip-hip DJ shows. There are demos for Funkmaster Flex, Stretch Armstrong, Doo Wop, etc. And they're not just radio drops or anything, but full, proper songs recorded for (and about) the shows... like Ultramagnetics' "Chuck Chillout" or those classic, exclusive cuts on Red Alert's albums. Again, it's all produced by Nick Wiz (one beat is even kinda recycled here), and while these maybe aren't quite as objectively good, uniquely written songs as the ones on The Complex Engineer EP (and a lot of time is spent on redundant, name-dropping shout-outs on every track), The Radio Promos EP is kinda more fun. I mean, if you're only going to get one release, The Complex Engineer EP is the way to go (which is surely why DWG gave it the wider release); but this is a neat little treasure for collectors.

By the way, the Nick Wiz CDs and these new 12" EPs aren't the only releases from Emskee... in more recent years, he put out an indie album and 12" on Goon Trax; and he's also one half of a group called The Good People, who got my attention back in 2006 for doing an EP featuring guys like Kool Kim and Cadence. So, if you've been bitten by the Emskee bug, you'll surely want to track all that material down as well - he still sounds the same.

Rock La France

Let me be the first to admit that there is something to the story of the following 12" I just do not understand. Now, I have been ranting about Rock La Flow since Dope Folks Records re-introduced him to the world. Thanks to them, and also Jamille Records, we've been given a whole catalog of fantastic music by this dope Milwaukee MC, and his equally impressive producer Tory Tee, that would've otherwise been completely lost to the ages. But what about the music that hasn't been issued from decades old vaults? What about his music that was actually released when it was meant to be?

To that end, I bring you today's record, "Proud By Choice" by F³. Who the heck is F³ and what do they have to do with Rock La Flow? Nothing, really, so far as I know; but it's a split 12"'; and the B-side is an original Tory Tee produced Mister Rock La Flow jam from 1990 called "The Harder the Better (Extended)." Where is there a non-Extended Mix for this to be in relation to? I don't know... as far as I know, this is all that's ever been released. Maybe he sold some cassette tapes of an original mix locally?

Here's a more compelling question about this record. Look at the label... Made in France? How/ why is a local, virtually unknown Milwaukee rapper making his vinyl debut in France? Ya got me. This record is on a label called Square Biz, a label that seems to otherwise only release club/ dance/ electro-type records in Europe, like this. But in 1990, apparently they dipped their toes in the underground Milwaukee rap scene, before the underground movement in hip-hop even took off. Either they were suddenly and briefly very progressive, or there's an interesting story there we don't know.

But why look a gift horse in the mouth? It's a banger! Interestingly, it opens with that same crazy vocal sample Raw Produce later used for "Mister Dope America." Then a hot, fast-paced track with a fresh rolling bassline - that sometimes switches up to a classic guitar sample - and non-stop scratching (uncredited, as Rock declares in the song, "my DJ, until further notice, remains unknown!"). And Rock just spits the same, non-stop, engrossing flow we've come to know him for. If you've been loving the Dope Folks releases, you'll want to have this one just as much; it's easily up there with the best songs on those releases. And the fact that this came out in 1990 means this is actually several years older than his Flowgram EPs or even The Ultimate LP; but that's definitely not a bad thing. Interestingly, this extended version is basically just the song from beginning to end which then blends into the instrumental replayed, replete with the same ad-libs and cuts. It's like the equally curious "Paper Thin" by MC Lyte.

Oh, and as for the A-side? It's pretty dope, too. F³ is a female group that comes nice and hard, with a serious message, "we have to send our love to the continent of Africa." The track, by somebody named D.A. Rock, outshines the MCing, with a nice blend of familiar samples (there are a lot of elements here previously used on Doctor Ice's "The Chillologist") mixed with new ones to form something original and edgy. It's bumping head-nodder, and these girls are kicking something serious - especially by 1990 standards. It would make for a pretty nice little pick up even if Rock La Flow wasn't on the flip side, but he is; so this record ends up being a real treasure. If you can fin it, I highly recommend it.

Disco Rick Goes Bankrupt (Luke Diss)

(Youtube version is here.)

Dead Presidents To Represent Ace

In 1995, The Southern Conference put out their only album, Who Am I?, and this is the first (of two) singles off of that album. But Southern Conference aren't just some random nobody group that came and went in a quick minute. In fact, it was just the latest step in a hip-hop career that started back in 1989, and continued on his last album (to date) in 2005. The Southern Conference is none other than Dr. Ace, of Young and Restless fame - who also put out records under the names of Da Real One and Mr. Charlie - backed by a couple other guys collectively known as The S.C. Mafia.

Yeah, you remember Young and Restless, surely - "B stands for Broncos, Benz, BMW, bass, bangles, and a pair of bars!" They actually had a long and varied career after they broke up (I say "broke up" because they stopped putting out records as the group, but they remained friends and continued to work together). And in 1995 they both dropped their first solo projects: Prince of Power dropped "Give Me 50 Feet" under his new monicker, P.O.D., and Ace dropped this record, "Dead Presidents."

And this is a solo record, make no mistake. Despite it being credited to "Southern Conference," Ace is the only one rapping on here (though Alvin Rodgers adds the occasional background vocal and a strange Bugs Bunny impression), the song's sole writer and the song's sole producer. It starts out with a quote from the Christian Slater film Mobsters, "What's the secret of America? MONEY! Everything is money, Charlie." "Charlie" is an extra little in-joke, because, in addition to being the name of the main character in the movie, it's Dr. Ace's real name.

Anyway, it's a nice little record... Young and Restless meets 90's random rap indie vinyl. It's a fresh, but low-key instrumental with a super funky bassline - not a Miami bass ridiculous bassline, but a straight funky one - and a little live guitar by Rich Serrotta. There are some subtle, female background vocals by Grace, who's allowed to flex at the end of the song. And there's a cool little routine where Ace does some back and forth with her, very reminiscent of the records Grand Puba used to do with Mary J. Blige.

While P.O.D. went to the obvious route of making a pure dance track for the clubs, Ace made a slower, reflective hip-hop track. It's got enough live rhythms to still feel lush and upbeat, and there are still hints of the Ace's wit in his writing, but for the most part he plays it straight (though not too deep) with a mature song about the ups and downs of his financial issues. And just for the record, this came out the year before Jay-Z's "Dead Presidents."

This 12" just features the one song, but it is fully loaded, coming in Radio, Ride Out, Club, Instrumental, and Acapella Versions. The Ride Out mix isn't a remix with a new instrumental - it's just a slightly extended mix where the beat rides out. This record can usually be found pretty cheap - even though it's kinda rare - just because most people don't seem to know what the heck it is. But I recommend it - it's not exactly a random rap classic that should be commanding insane prices, but if you appreciate good hip-hop, you'll like this. It's just good.

Terrific Bizzie Boyz record!

(Youtube version is here.)

Mel's Message Week, Day 5 - The Last Message

It took ten years to get from "The Message" and "Message II" to "The New Message," and we would have to wait another fifteen years for the next installment. That's right, I don't even know how many people realize this, but Melle (sorry, Mele) Mel's last single, "M-3" is actually a new "Message" record. Yup, the "M" stands for "Message." And he's labeled it part 3, which I guess means that he's decided "The New Message" didn't count. Sort of like when Halloween part 7 (a.k.a. H20) came out, and they made it a direct sequel to Halloween part 2, and we were just supposed to pretend parts 3-6 didn't happen, so Jamie Lee Curtis's character never had a daughter and there was no crazy cult. You've got "The Message," "Message II (Survival)" and now "M-3." Anything else isn't canon, so forget about it.

"M-3" dropped on the 25th anniversary of "The Message," the first and only single off of Mel's most recent album, Muscles. The famous hook from the original and "New Message," has been shorted from the famous, "don't push me 'cause I'm close to the edge..." to just the simple and declarative, "don't!" I'm not sure if abbreviating it like the title is meant to disguise the fact that this is the new "Message" or not, but it all ties together when Mel kicks the final verse, which is entirely "don't" themed:

"Don't act like you know so much;
You ain't cute enough to prostitute - don't try to ho so much.
Don't write a rhyme like the rest of your boys
'Cause them niggas is on stage making a bunch of goddamn noise.
Don't be so wild and loose; don't fall for the half truths,
'Cause it might be child abuse.
Pro-black ball player, yo man, don't marry a white woman,
Go and give your sister a chance.
Don't be afraid of the word 'nigga,'
Be a strong, rich, proud, healthy, well-educated nigga."

The rest of the song's a little more straight-forward, what you'd expect from a "Message" rap:

"Broken dreams over the triple beam,
Go for the cream, niggas sellin' dope to the fiends
Young juvenile killers in jeans and white tees
Sayin' 'freeze!' Nobody can hear you scream.
...
Coulda swore that my broad was a normal chick,
Rented a video; the ho was in a porno flick."

Now I don't know, but that sounds like kind of an unfair double-standard to me. I mean, if he's so against porn, what's he doing renting them? I guess it's okay for the goose, but not the gander, huh?

But, seriously, it's interesting. He's switched the flow up from previous messages, where he's now kicking more, faster rhymes {"dreams, beam, cream, fiends, jeans") packed into the lines - it's an energetic, hyper flow, more like Kool G Rap (except with mostly just single syllable rhymes) than the kind of stuff he made history with. I wouldn't say it's an improvement, but it's certainly an acceptable change that works, though I could see some people being disappointed because they wanted to hear a "Message" that sounded more like the original. This one certainly doesn't.

But on the other hand, this lacks the power and imagery of the original. Some of that is definitely in the writing - he just doesn't say anything here that hits you as hard. In fact, I can't even really tell what on Earth he's talking about sometimes (what the Hell are the half-truths that "might be child abuse" in the portion quoted above, for example?) And the style change, which puts more of an emphasis on "clever" than "earnest" probably plays a hand as well. But the biggest point this one catches flack on is surely the production.

Of course, the previous "Message"s have always had the benefit of great, live musicians supporting the rhymes - even "The New Message." Here you've got a track produced by Joey Mekkah (a new alias of Romeo JD from The Boogie Boys), which just isn't very good. Part of the problem is that the music, along with Mel's different flow, makes it seem like they're chasing after "what the kids are doing these days." I'm pretty sure they listened to some new, corny rap songs, said, "this sucks" and then, "we gotta make a track like that to be relevant." I mean, it's not terrible; but it sounds like a leftover from a lame Hot 97 freestyle.

The 12" has our backs here, somewhat, with an exclusive remix by Kamanchi Sly. If you don't know, he's a member of Hijack, the British group that was a member of The Rhyme Syndicate (Mel was a member of the Syndicate, too, remember). It sounds a little more hip-hop, and the bass is deeper - it's a definitely improvement. Still, some of the musical elements sound a little too much like your typical, staccato "computer-made bloops and bleeps" of modern hip-hop production (the whole Muscles project is obviously crippled by not being able to afford to sample), and the hook sounds worse over this new track - they should've replaced it with something else. But, overall it's still an upgrade, and you can really appreciate Mel's MCing better on this mix.

"M-3" also comes backed with another album track, "Hip Hop 101." It's not a great song, but it's a fun homage to old school classics. He spits famous lines from hip-hop's most famous tracks over a classic breakbeat, and leaves the audience to finish the refrains in a shout-and-call kinda thing. It's like those medley records Doug E. Fresh put out around 2000, although he does spit a new, original verse towards the end. It's okay.

Ultimately, it's a disappointment. Reactions online (here, read some) seem to vary from "utter shit" to "the legend is back - all praise!" But I don't think anyone will say that this stands up to his previous outings. Mel proves he still has potential as an MC, and I appreciate the effort here; but this project ain't it. Not only do I naturally prefer the records from '82, but if I want to listen to a third, honestly, I'll play "The New Message." Just like when Halloween 7 came out, they arrogantly dismissed the earlier entries because of their flaws, and declared "we're making the only real, important sequel!" But fans prefer parts 4 and 5. ;)