Category Archives: Sir Bonkers

Wu-Tang Clan – Wu-Tang Forever

Wu-Tang Clan
Wu-Tang Forever
June 3, 1997
Loud RecordsRCA Records/ BMG Music Group/ SME
080/100
WuTangForever
DISC I
1. Wu-Revolution (performed by Popa Wu & Uncle Pete) // 2. Reunited (feat. Ms. Roxy) // 3. For Heaven’s Sake (feat. Cappadonna) // 4. Cash Still Rules/Scary Hours (Still Don’t Nothing Move But The Money) // 5. Visionz // 6. As High As Wu-Tang Get // 7. Severe Punishment // 8. Older Gods // 9. Maria (feat. Cappadonna) // 10. A Better Tomorrow // 11. It’s Yourz
DISC II
1. Intro // 2. Triumph (feat. Cappadonna) // 3. Impossible (feat . Tekitha) // 4. Little Ghetto Boys (feat. Cappadonna) // 5. Deadly Melody (feat. Streetlife & Dreddy Kruger) // 6. The City // 7. The Projects (feat. Shyheim) // 8. Bells of War // 9. The M.G.M. // 10. Dog Shit //11. Duck Seazon // 12. Hellz Wind Staff (feat. Streetlife) // 13. Heaterz (feat. Cappadonna) // 14. Black Shampoo // 15. Second Coming (performed by Tekitha) // 16. The Closing // 17. Sunshower // 18. Projects [International Remix] (feat. Shyheim)

Double-disc albums were a hype in the late ’90s urban music world and if an act didn’t have one it wasn’t considered whole. Tupac Shakur started the trend with his diamond-selling All Eyez On Me in ’96 and plenty of R&B/hip-hop artists would soon follow in his tracks, including arch rival the Notorious B.I.G., R. Kelly and several others. These albums, though some were well-received and have reached what one would call ‘classic status’, generally represent a bloated mess of imperial overstretch in these artists’ respective career. Shakur’s album All Eyez on Me, the project that kickstarted the trend, was the worst offender. It sounded like he recorded it all in one go and completely ran out of ideas after the first few songs or so and only regaining his momentum very sporadically over the course of the rest of the album and nevertheless released it to the masses without ever looking back. What we are digging into today however is its polar opposite when it’s the overall quality that is concerned, probably because Shakur was filling two discs of original material by his self (with lots of help of his untalented weed carriers Tha Outlawz and to a lesser degree his labelmates Snoop, Dre, Daz, Kurupt and whoever accidentally walked into the wrong studio, but still. All Eyez on Me was essentially 2pac headlining two full CD’s of material.) and the Wu-Tang Clan has nine official members who all get equal billing and are all to varying degrees main attractions.

Wu-Tang Forever marks the end of RZA’s famed and mysterious five year plan. Not even Method Man claims to know just what that plan might have been, but it had something to do with dropping a trail of classic solo albums by individual members between the group’s debut album and their sophomoric one. It goes TicalReturn to the 36 ChambersOnly Built 4 Cuban Linx…Liquid Swords and Ironman.
(Also there was supposed to be a Inspectah Deck album released somewhere between Liquid Swords and Ironman but RZA’s basement which contained all of his equipment and prerecorded beats that were intended for that one, and apparently Ironman was higher on RZA’s list of priorities.)

Wu-Tang Forever extensively features Cappadonna, a Wu-affiliate who would’ve been one of the original nine members but went to prison before having been able to make any contribution to Enter the Wu-Tang and was replaced by Method Man in stead. The man had resurfaced on Raekwon’s Only Built 4 Cuban Linx… and contributed to Ghostface Killah’s Ironman. Even though he is credited as a featured guest on Wu-Tang Forever whenever he pops up, and he pops up quite often, he was more or less considered the Clan’s tenth member when it was released. RZA would later disown Cappadonna as an official Clan affiliate because Cappa completely lost his rapping mojo of an alleged financial conflict between the two where Cappachino claimed RZA owed him money and RZA claimed he was full of it.

Wu-svengali RZA had for the most part abandoned the gruff, dusty and minimalistic sound that made Enter the Wu-Tang such a notable success. Having produced a stack of classic albums since his instrumentals became increasingly rich and cinematic over the course of discs that went from Tical to Ironman. On Wu-Tang Forever he added a new element to his bag of tricks. He took vocal samples from old soul records and changed the pitch to make them sound high and quirky, possibly to save money on background singers which he could then spend on honey-dipped blunts and pointy rings. He then proceeded to incorporate them into his beats. This is a hip-hop production technique many people think Kanye West invented. RZA, who previously did pretty much all the work behind the boards on anything released by any of the Clansmen stepped aside for eight of the album’s twenty nine tracks which he left to his cronies True Master, 4th Disciple and for some reason Inspectah Deck whose instrumental contrubutions aren’t very good but also not that numerous. Whether this was done for variation’s sake or simply because RZA couldn’t come up with twenty nine instrumentals of consistently good quality on his own (It happens to the best of us) is unknown to me, but it is what it is.

The album’s first disc is off to a meh start with its bullshit intro on which two non-Clan members get to rant for nearly seven minutes about five percent islam, a religion that apparently every member of the Clan was practicing at the time. Nothing against taking pride in one’s religion but this track couldn’t have been more tedious and pretentious if they followed it with a full recital of each and every scripture of every religion known to mankind ever while keeping the same beat on for the entire duration.
Following that is a somewhat uneven collection of music which is to be expected from an album that consist of the combined efforts of ten rappers and four producers divided by twenty eleven tracks. The disc sounds good for the most part. The majority of the songs are highlights. The tense the Wu-noir opening cut Reunited which has the three cousins GZA, ODB and RZA + Method Man ripping shit up and setting the mood for what is to come.
For Heaven’s Sake has Deck outrap Masta Killa and Cappadonna over a quintessential chipmunk-soul beat.
It’s Yourz blends RZA’s typical dusty sound with something akin to old school disco rap. Rae, U-God, RZA, Deck all get to rock it but GFK walks away with the track.
OB4L reprise Older Gods (that doesn’t appear to be complimentary to Shyheim’s Young Gods) and the ode to positive thinking that is A Better Tomorrow and the grimy but catchy are all prime Wu posse cuts as well.
Low points are the unsexy sex rap Maria, the Deck-produced Visionz and the shitty Cash Rules sequel Cash Still Rules Everything Around Me.

The second disc opens with a dismissal of Rap ‘n’ Bullshit R&B-rap artists by RZA & GZA, presumably P. Daddy & Ma$e. I wonder if RZA remembered that You’re All I Need to Get By song that got Method Man, Mary J. Blige and P. Daddy a grammy, or that Babyface Remix that had Ghostface Killah rhyme the exact same verse he performed on this album’s Visionz. (I’m also curious what RZA had to say when he first heard that Justin Bieber song that had Raekwon and Kanye West on it, if he ever hear it at all.)
Obviously there’s more posse cuts on this disc. Triumph is arguably the best thing on the entire project with its cinematic instrumental and all the official Wu-tang plus Cappadonna rocking over it. The only complaint about this one is that Ol Dirtly Bastard is severely underused by not being allowed to spit a verse of his own and being relegated to shit-talking on the intro and in between verses in stead. I suppose you can’t have it all. The song is still really, really good anyway.
Impossible has the most eerie, spaced out instrumental so far and has among others Ghostface Killah tear it to shreds.
Little Ghetto Boys is a fairly nice word of advice to its titular subjects about not choosing the wrong path although reusing that Donny Hathaway sample for the hook was then and still is a surefire way of getting your song unfavourably compared to a classic songs by Dr. Dre featuring Snoop Dogg and P. Daddy with Notorious B.I.G. and Jay-Z.
Fans of the debut album’s production sound get thrown another bone by way of Deadly Melody, a showcase for mostly Method Man and his apprentice Street Life.
Bells of War is a good listen too and the Rae-Ghost duet The M.G.M. Wu-Tang Forever is as good a showcase of their usual on-record Chemistry as anything off OB4C or Ironman.
The Projects finally puts Shyheim in the same room as most of the clan members so good for him that he’s finally proven to be a true Wu-B-teamer. It’s not good for anyone or anything else though because it’s beat sounds like RZA was only half finished creating it before his pizza was delivered or something.The ODB gets a solo offering with Dog Shit and it sucks balls, the man always was a hit or miss individual. The part at the end where he tell his fellow clansmen that they remind him of the backup dancers of En Vogue though almost makes it worth sitting through.
Speaking of horrible solo-efforts: U-God, a rapper who was incarcerated during most of the recording of 36 Chambers and is considered by many to be the worst rapper in the group gets a solo-showcase of his own in the form of Black Shampoo, a hilariously unsettling sex rap with an instrumental that sounds like it was made by Barry White on acid, over which the man invites the listener to let him clip his or her toenails, among a diverse range of other odd sexy business.
The City is Inspectah Deck’s chance to fly solo. It’s good enough to make one desperately want to hear his aborted flushed solo debut, so listen to it at your own risk.
RZA, Raekwon and oddly enough Tekhita, one of the Clan’s go-to studio songstresses, get fairly decent solo-offerings as well

Overall Wu-Tang Forever, like any non-greatest hits double disc album this reviewer is aware of, would’ve benefited if it had been edited down to a single disc. That however would have meant that the guys weren’t competing with Biggie and 2pac for best double disc album of the late ’90s which hardly would’ve been an option worth considering. And it’s still a really good album in the incarnation in which it was released. Bar Dog ShitMaria and Black Shampoo most of the lesser tracks are entertaining filler rather than bad songs. Wu-Tang Forever retains enough of the old to keep the fans happy but introduces enough new to justify having a sophomore album in the first place. The album is a great showcase for one of hip-hop’s greatest franchises at the peak of its powers.

Best tracks
Reunited
Severe Punishment
It’s Yourz
For Heaven’s Sake
Older Godz
A Better Tomorrow
Triumph
Impossible
Deadly Melody
Bells of War
The City
Black Shampoo

Recommendations
Pick this one up.

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Camp Lo – Uptown Saturday Night

Camp Lo
Uptown Saturday Night
January 28, 1997
Profile RecordsArista Records/ SME
083/100
Camp Lo - Uptown Saturday Night
1. Krystal Karrington // 2. Luchini AKA This Is It // 3. Park Joint // 4. B-Side to Hollywood (feat. Trugoy the Dove) // 5. Killin’  Em Softly // 6. Sparkle // 7. Black Connection // 8. Swing (feat. Butterfly) // 9. Rockin’ It AKA Spanish Harlem // 10. Say Word (feat. Jungle Brown) // 11. Negro League (feat. Karachi R.A.W. & Bones) // 12. Nicky Barnes AKA It’s Alright (feat. Jungle Brown) // 13. Black Nostaljack // 14. Coolie High // 15. Sparkle [Mr. Midnight Mix]

Every once in a while a piece of music enters ones conscience that makes you wonder how you got by without it all those years. Camp Lo’s Coolie High has been one of those songs for yours truly. I remember when I first heard the song at a house party some five, six years ago and unfortunately I was too far off the map and preoccupied to walk up to the desktop to find out just what exactly it was that was playing. The smooth-as-butter instrumentals and nimble flows did however leave a mark and when one of my friends casually put it on at another house party years later I immediately recognised it, had a eureka moment of sorts and managed not to forsake finding out what was that time. Coolie High has since been a favourite track of mines, kept in heavy rotation and helping me zone out for a bit at those times when life gets a little too stressful. Their other hit song Luchini AKA This Is It also turned out to be a classic and sounds like Coolie High‘s polar opposite production-wise. The beat has a cinematic horn loop among other things that doesn’t creep up your spine but grabs you by the throat in stead. Neither song has any particularly meaningful lyrics but everything the Lo say does sound cool with a poetic veneer, and their liquid flows are near perfect which puts the guys somewhere between being instruments used by Ski to complete his music and star MCs in their own right.

The duo behind these songs hails from the Bronx, New York and entered existence in 1995. Soon they hooked up with producer DJ Ski and started working on their debut album Uptown Saturday Night, the subject of today’s post, released on Profile Records, home of RUN-DMC. Unfortunately for them during the recording a young upstart who went by the name of Jay-Z came along and stole purchased the instrumental, the hook and the flow of their songs Feelin’ It (and who knows what else) wholesale from their producer Ski for his debut album Reasonable Doubt. Despite that minor setback they continued to work on their album and it dropped in early ’97. Despite not conforming to any of the dominant sounds in hip-hop of the time, those being P. Daddy’s shiny disco rap, Dr. Dre’s syrupy G-funk sound or RZA’s dusty beats, they managed to score two minor hits off their debut, the previously mentioned Coolie High and Luchini AKA This Is It. These songs introduced the world to the Lo’s confidently delivered ’70s  blaxploitation slang raps and Ski’s atmospheric, soulful and jazzy yet down to earth productions. That would unfortunately be the entirety of their commercial success as nothing they did following that charted, but that didn’t stop them from staying together, collaborating with their boy Ski and putting out albums for the decade following this album’s release so they probably have a small but dedicated cult following or so it would seem.

Nothing on Uptown Saturday Night surpasses or even matches the artistic success of the positively epic Luchini or aural relaxant Coolie Hight, but the rest of the album is still quite entertaining. Highlights include the Jamiroquai-esque piano groove of Sparkle and the smacking salsa-hop of Rockin’ It. The booming opener Krystal Karrington is also pretty awesome. The rest of the songs are fairly entertaining filler and Uptown Saturday Night as a whole is an underrated gem of an album that is deserving of every hip-hop head’s time and attention.

Best tracks
Krystal Karrington
Luchini AKA This Is It
Sparkle
Rockin’ It AKA Spanish Joint
Coolie High

Recommendations
Pick this one up.


Ghostface Killah featuring Raekwon and Cappadonna – Ironman

Ghostface Killah featuring Raekwon  & Cappadonna
Ironman
October 29, 1996
Razor Sharp/ Epic Street/ Epic RecordsSME
073/100
Ghostface Killah - Ironman
1. Iron Maiden (feat. Raekwon & Cappadonna) // 2. Wildflower (feat. Scotty Wotty & Jamie Sommers) // 3. The Faster Blade (performed by Raekwon) // 4. 260 (feat. Raekwon) // 5. Assassination Days (performed by Inspectah Deck, RZA, Raekwon & Masta Killa) // 6. Poisonous Darts // 7. Winter Warz (feat. U-God, Masta Killa, Capadonna & Raekwon) // 8. Box In Hand (feat. Raekwon, Method Man & the Force M.D.s) //9. Fish (feat. Cappadonna & Raekwon) // 10. Camay (feat. Raekwon & Cappadonna) // 11. Daytona 500 (feat. Raekwon, Ghostface Killah & the Force M.D.s) // 12. Motherless Child (feat. Raekwon) // 13. Black Jesus (feat. Raekwon, Ghostface Killah, U-God & Popa Wu) // 14. After the Smoke Is Clear (feat. Raekwon, RZA & the Delfonics) //15. All That I Got Is You (feat. Mary J. Blige & Popa Wu) //16. The Soul Controller (feat. the Force M.D.s) // 17. Marvel (feat. RZA)

This isn’t a proper Ghostface Killah or anything but that’s fine, it’s not like the album’s two co-stars aren’t listed and pictured on the front cover. Also Pretty Toney already had albout half a solo-album in OB4CL…which makes the amount of solo-albums he had under his belt after releasing Ironman 0.83333333333.
But Ghost’s name is the one on the front cover that appears first and in the biggest font, which means that Ironman definitely is promoted as a being Ghostface Killah album, which would be fine if Raekwon’s wasn’t the voice you actually hear rapping on it before anyone else’s and if Rae didn’t have a solo song all of his own on this while Ghost has but one track where he’s left unaccompanied too.
But Rae is the first guy you hear, Rae and Ghost do have a solo-song each and in addition Assassination Days is a pretty cool Wu-posse cut doesn’t have Ghost on it but and does have a Raekwon appearance, so that’s some fairly false advertising if ever I came across any. Truth is: This is a Raekwon album, or at least as much a Raekwon album as it is a Ghostface Killah album.
One has to wonder who at Razor Sharp Records/ Epic Street was as unconfident in Ghost’s abilities to make a consistently entertaining solo-album and why exactly because the man is considered by many, including yours truly, as the Wu-member with the most consistently entertaining solo output out of all nine.

Where Ironman does deliver is that it’s packed with RZA beats, glancing at the track list there isn’t a song without RZA’s involvement except Fish which True Master snuck into the studio when Robert Diggs was taking a piss or smoking one of his honey-dipped blunts or something.
But ‘deliver’ may be an overstatement of sorts because the beats, while far from being sucky, don’t bang as hard as you’d expect based on the stack of classics Bobby Digital produced that is every Wu-solo album from Tical to Liquid Swords.
The most likely explanation for the small but notable drop in quality of the soundscapes is that Ironman is notable for allegedly being the first Wu-member album recorded after the flooding of Wu-ringleader RZA’s basement studio, which took out all of the man’s equipment and the beats he had laying around (both finished ones and works in progress, one must assume). So basically RZA had to start from scratch creating and recreating instrumentals for this album in a very short timespan, which must’ve been a daunting task regardless, but was likely to be especially fucking exhausting for someone who had been producing five classic albums in the three years before this one.
Anyway it’s not as though he did a shitty job. As usual the music sets a variety of moods while always showing a hint of dust and creepiness or oddness depending wat the song calls for (or rather everyone who ends up on the beat bows down to RZA which is more likely). These instrumentals are diverse but do have a minimal yet cinematic quality in common which helps unify these tracks into an album, and a fairly good album it is. It just doesn’t sound as good as what came before it, unreasonable expectations or not.

In these two manners Ironman is a definite but slight disappointment. It is not an effective introduction to Ghostface Killah the solo-artist and beatwise it is not as good as Liquid Swords (or anything that came before it from the Wu-Tang’s original nine). But despite those two concerns it’s still good enough to serve the Wu-hungry. The beats here do still bang harder than those found on most contemporary competition’s albums and if this doesn’t have much in the way of Ghostface Killah solo songs it has the next best thing: Plenty of Rae/Ghost collabos, that sound perfectly good when they’re on but don’t leave much of an impression when they’re gone. They’re not as good as those found on) OB4CL… but they’ll do.
Cappadonna is on here quite often as well, but he’s nowhere near as omnipresent as Rae, so I’m assuming that the reason he gets a full credit on the front cover and not the Force M.D.s is because he was Razor Sharp Records’ artist to promote and would have a solo-album for himself on the shelves in the foreseeable future. The guy doesn’t suck behind the mic so there’s not necessarily something worth additional complaining about.

The album starts off catchy enough with Iron Maiden, which as usual with the Wu is introduced with a fragment from an action movie. This time it’s not a kung-fu flic but a ’70s blaxploitation movie which is all well, but once the music starts playing and Rae is the first guy you hear spitting you feel like something is wrong and envision Ghost quickly leaving the studio after the beat starts playing in fear of failing to spit something entertaining, and Rae jumping in rhyming to prevent on-record awkward silence while Cappadonna outside with Ghost is trying to convincing him to go back and do the second verse. (I realise that this is not how songs are recorded, don’t bother explaining.)
Wildflower is a rabiate deconstruction of one of Pretty Toney’s ex-girlfriends which is a song format that both Ghost and some of his Wu brethren have repeatedly revisited and All I Got Is You is an ode to Ghost’s mother featuring the only non-Wu guest in Mary J. Blige. It’s a touching song and with Wildflower is forshadowing of the more emotionally charged work the man would be known for later in his career.
260 and Motherless Child are entertaining Ghost-Rae crime tales tailor-made for those who loved OB4CL….
Other highlights for fans of Rae/Ghost chemistry are Winter WarzFishCamayDaytona 500 and Black Jesus. All these tracks also feature contributions by either Cappadonna, U-God or both, two MCs who have often been called the worst things about the clan (when Wu-fans are generous to consider Cap a Wu-member at all). But here the work of either rapper never sounds anything less than inspired.
For people who nevertheless demand songs with nothing but A-list Wu-members there’s Box In Hand with Method Man in addition to our dynamic duo, and After the Smoke Is Clear which has RZA stepping away from the boards and into the booth with them to land some bars himself. His voice also pops up Marvel, which closes out the disc and on the posse cut Assassination Days which hasn’t got pretty Toney on it anywhere for whatever reason. Also there’s that The Faster Blade song which has Rae going for dolo and is probably a returning of favours since Ghost got his first solo-song on OB4CL…‘s Wisdom Body.

Overall Ironman sports a pretty impressive collection of music, and it doesn’t really have any shitty songs on it. It’s just as consistently entertaining as Only Built 4 Cuban Linx… just consistently less so. But that shouldn’t necessarily be seen as any sort of disencouragement to listen to it. Most rap albums don’t hold up to OB4CL… and that still allows them to be pretty good.This is often seen as the last classic Wu solo-album because it was the last one in RZA’s five year plan in which the guy produced everything.This assessment isn’t true for several reasons: Arguably while not being a bad album per se it is the worst out of the first round so the last true classic would be Liquid Swords if the Clan had completely stopped recording solo-albums after Wu-Tang Forever. Secondly the official sequel to OB4CL…, released in 2009, is a classic too (There I said it.) Finally and perhaps most importantly Ghost would only get better as an artist and would release his true solo debut in the form of Supreme Clientele in early 2000, and it sounds better than this.With that said it does mark the end of an era. It is the last solo album by a Wu-member RZA completely produced (bar RZA’s own albums) and the last one more or less done in the style of olde before Robert Diggs cut his inner artiste loose starting on Wu-Tang Forever. So if you can’t get enough of the original Wu-sound by all means pick this one up. Just pick up 36 ChambersTicalReturn to the 36 ChambersOnly Built 4 Cuban Linx… and Liquid Swords before you do.

Best tracks
The Soul Controller
260
Box In Hand
Black Jesus
Winter Warz
Motherless Child
Poisonous Darts
Daytona 50
The Faster Blade

Recommendations
Yeah enough nitpicky bitching already. You can go and pick this up now. It’s not bad (Not bad meaning fairly good).


Shyheim – The Lost Generation

Shyheim
The Lost Generation
May 28, 1996
Noo Trybe/Virgin Records/EMIUMG
055/100
The Lost Generation--Front
1. Shit Iz Real (feat. DeLouie Avant Jr.) // 2. Dear God (feat. Pop The Brown Hornet, June Lover & Nikki Williams) // 3. Jiggy Comin’ // 4. 5 Elements (feat. Down Low Reka, June Lover, Pop the Brown Hornet & Rubbabandz) // 5. Shaolin Style (feat. Squigg Trust) // 6. Real Bad Boys // 7. What Makes the World Go Round (feat. Rubbabandz, Smoothe Da Hustler, Trigger & Dzalias Christ) // 8. Can You Feel It (feat. June Lover & King Just) // 9. Life As a Shorty // 10. Don’t Front/ Let’s Chill (feat. 702) // 11. Things Happen // 12. See What I See (feat. Dzalias Christ) // 13. Still There (feat. DeLouie Avant Jr.) //14. Young Gods (feat. Killa Sin, Madman, Rubbabands, Raekwon & RZA)

Wu-tang affiliate Shyheim’s first album sold enough copies for Virgin record to allow him a second studio album (although nothing can be found online about any sort of gold certification). And by the time it dropped in may ’96 the guy still would have to cross the border to Canada or Mejico to legally buy a beer because he was barely eighteen by that time.
For The Lost Generation he mostly worked with the same people that made AKA the Rugged Child such a moderate success: Producer RNS, who according to Discogs was at one point Wu-svengali RZA’s mentor, (although no other interwebs source can confirm this in a satisfactory manner) and members of the sorta, kinda Wu-affiliated GP Wu which supplied most of the guest vocals.
Like on AKA the Rugged Child RZA supplies but one beat, but unlike the last time around his contribution lasts for over two minutes and features some actual Wu-involvement in the vocal department, because the hook is performed by Prince Rakeem himself and Raekwon the Chef (although a would-be-much-appreciated verse from either official Wu-member is missing, sadly). M.O.P.-producer DR Period and NaS-veteran L.E.S. also get to provide beats for Shy to rock over.

Oddly enough Shyheim seems to actually have become less mature-sounding since recording AKA the Rugged Child. A simple and logical explanation would be that on that album he didn’t write his own lyrics, leaving that to an older rapper, whereas on this one he did everything himself.
Shy’s juvenile, irreverent style isn’t without merit and sort of fits him him on occasion. Quips like God help me out nigga would certainly lose their charm coming from an older rapper but work just fine on Dear God, a song about ghetto hardship and desparantion and a definite highlight with a bleak yet smackin’ and smooth RNS beat and Pop da Brown Hornet paying hommage to Snoop Dogg’s Murder Was the Case on the hook. Unfortunately for Shyheim Dear God is a rare highlight on an album filled with mediocracy.
Shit Is Real, the album opener, is supposed to establish Shy’s street cred, but it’s subject matter and backing music are a straight mismatch, although it would no doubt have sucked too even without its wimpy R&B instrumental.
Jiggy Comin’ is about Shyheim’s trouble with the police, which is all well but he sounds like the type of kid that was taken to his mother by the law enforcement for nicking a candy bar rather than being sent to the penitentiary for anything serious, and talks shit to his boys blowing the story up via this track.
Shaolin Style flips an already overused Patrice Rushen sample and manages to add nothing of value to the well-known melody, the Method Man samples on the hook be damned.
The Lost Generation also has an introspective song and a joint for the ladies, Don’t Front/Let’s Chill and Still There For Me respectively. Both of them fall flat on their faces because Shy’s persona isn’t developed enough to to them justice and he fills them with gangsta clichés in stead, and they are made worse by having rather shitty R&B guest appearances accompanying him.

That’s not to say The Lost Generation is all shit though. But the moments that do work aren’t working because of Shyheim and would’ve sounded equally well, if not better, with another rapper taking his place or do sound good because there actually isn’t much Shyheim on them to speak of. Can You Feel It works because of it’s bouncy disco production combined with the spacy vocal distortion. See What I See has a eerie, pounding, percussive piano based instrumental by DR Period with a catchy, sung chorus courtesy of studio singer Dzalias Christ, 5 Elements and What Makes the World Go Round work well enough but mostly because GP Wu take over the track and are backed by RNS productions that sounds like someone from the actual clan might rock over them, had they had the opportunity. As does Young Gods, but that’s because it it’s a RZA creation, because it has minimal vocal involvement by Rae and RZA himself and because quite possibly was offered to someone from the actual Clan before ending up here.

Life as a Shorty is the only moment on the record where Shy regains the lyrical momentum he had on Dear God, sounding convincing and credible enough in his roll as a young hoodlum and unique enough to justify him having a rap career. This unfortunately doesn’t happen a lot on The Lost Generation. An album that sees Shy probably having his first attempts at writing his own lyrics. As such we shouldn’t be too hard on the guy. But the person who fired his ghostwriter may have been premature doing so because the Shyheim we hear on this album for the most part sounds like he has just heard gangsta rap for the first time and then decided to dive head-first into recording an album which is never a good thing.
Let that however not be interpreted as an outright and complete dismissal of Shyheim as a rapper. His debut AKA the Rugged Child is pretty good, as are the songs listed below and his follow-up work may very well be too because he still had a lot of growing up to do at this point.

Best tracks
Dear God
5 Elements
Can You Feel It
What Makes the World Go Round
See What I See
Young Gods

Recommendations
Download the above tracks off iTunes or Amazon, or pick this album up if you find it for really cheap.


John Mayer – Heavier Things

John Mayer
Heavier Things
September 9, 2003
Aware RecordsColumbia RecordsSME
062/100
John Mayer - Heavier Things
1. Clarity // 2. Bigger Than My Body // 3. Something’s Missing // 4. New Deep // 5. Come Back to Bed // 6. Home Life // 7. Split Screen Sadness // 8. Daughters // 9. Only Heart // 10. Wheel

Singer-songwriter John Mayer’s first full length album Room For Squares sold milions of copies and unexpectedly so. Who knew women of all ages have a soft spot for a guitar-strummy pretty boy velvettily crooning his little heart out about his feelings regarding the fairer sex and his aspirations? (Please don’t answer that in the comment section, that was a rhetorical question.)
Yes Room For Squares was aimed at the heart of the white middle aged housewife demographic adult contemporary radio, and it was incredibly dull. But it still served a purpose in being the perfect soundtrack to an hour or so spent in a Starbucks by members the then-budding hipster community. And if you paid attention to it and managed to stay awake doing so, you would discover that Mayer was a pretty good songwriter with attention to detail and has some pretty good observation skills.
I would give you a example of where Squares offers these qualities here but I cannot remember a single song off Squares beyond Your Body Is a Wonderland, which isn’t a very good example of what is good about John Mayer, despite being his signature song, well until Daughters was released as a single, which also isn’t showing Mayer’s best side, but I digress.

Heavier Things isn’t a grand departure from Squares or anything, but it does sound different enough in that the sound is beefed up justlittle bit. This upgrades Mayer’s music from the sort of adult contemporary radio music you don’t really notice being on to the sort of adult contemporary radio music that gets stuck in your head. In short Heavier Things‘ producer, Jack Joseph Puig, did something to Mayer’s music Room For Squares‘ producer, John Alagia couldn’t; make it memorable at times. Those times are the album-opener Clarity, the next song Bigger Than My Body and Come Back to Bed.
Oh and Daughters is memorable too, although it’s debatable whether it’s positive or negative for that particular song.

Clarity is relaxing and uplifting at the same time and has Mayer’s corduroy croon slide into smooth falsetto on the hook. This combined with the soulful instrumentation makes for something much richer than anything off his debut.
Bigger Than My Body is where the album really picks up steam and ups the tempo. It is unfortunate that Mayer never really comes back to it because this type of faster song (relatively speaking off course, this is still Mayer so the song is still going to be chilled enough to not disrupt a dinnertable conversation) fits him like a glove. Unfortunately the album hits snooze shortly after and never really manages to wake up on time.
On Come Back to Bed however this drowsiness is actually a good thing. On it Mayer pleads to his better half to rejoin him after she got out of the sack because of something he did or didn’t say (What exactly he did wrong he hasn’t figured out himself yet.) It’s gracious, sexy, hooky, bluesy and soulful and would’ve been a big hit if Aware Records/ Columbia had released it as a single.

Then there’s Daughters which has an inescapable hook and could be considered a Hallmark card set to wax or aural dreck leaving a slime trail depending what side of the fence you’re on. This reviewer hates it with every fiber of his body. Contained within it are all those things some wish real boyfriends knew and said, as well as sexism aimed both at women and men in several instances. It may be a well written contemporary pop-classic and all but bleh, this trifle is nauseating.

All of the other songs are alright, nothing more, nothing less. They sound more interesting than the filler off his last album but not by a wide margin. But, in combination with the stand-out songs, they sound good enough to call Heavier Things a fairly big improvement over his first album.

Best tracks
Clarity
Bigger Than My Body
Come Back to Bed
Daughters

Recommendations
Pick this one up. It’s an alright enough record for lazy sundays. Do buy a used copy though if you can find one. This album isn’t necessarily worth a lot of money.


Nelly – Da Derrty Versions: The Reinvention

Nelly
Da Derrty Versions: The Reinvention
November 25, 2003
Derrty EntertainmentUMG
058/100
Nelly - Da Derrty Versions the Reinvention
1. Intro // 2. Country Grammar [Jay E Remix] (feat. E-40) // 3. Iz U // 4. E.I. [David Banner remix] // 5. Ride With Me [Jay E Remix] (feat. City Spud) // 6. Batter Up [Jay E Remix] (feat. Murphy Lee, Chocolate Tai, King Jacob, Prentiss Church & Jung Tru) // 7. If // 8. Hot In Herre [Basement Beats Remix] // 9. Dilemma [Jermaine Dupri Remix] (feat. Ali & Kelly Rowland) // 10. King’s Highway // 11. Groovin’ Tonight (St. Lunatics feat. Brian McKnight) // 12. Air Force Ones [David Banner Remix] (feat. David Banner & 8ball) // 13. Work It [Scott Storch Remix] (feat. Justin Timberlake) // 14. #1 [Remix] (feat. Postaboy & Clipse) // 15. Pimp Juice [Jay E Remix] (feat. Ron Isley) // 16. Tip Drill [Remix] (E.I.) (St. Lunatics)

Back when people still bought cds remix-albums were an easy way for record labels of juicing any particular artist’s fanbase for some cash whenever that artist didn’t have a proper album to promote. Da Derrty Versions: The Reinvention is such an album, bridging the gap between Nelly’s 2002 blockbuster Nellyville and his 2004 double whammy Sweat and Suit. On this album you will find amended versions of hit songs from Nellyville and his debut Country Grammar of varying quality, all tied together by Nelly commenting on his ‘creative process’ in a sort of fake interview type of setting brought to us in skits. Did you know E-40 invented slang? Yeah, me neither…

On to the content: Everything labeled a ‘Jay E Remix’, which is is the absolute majority of the songs, can be automatically dismissed as a remix. Not because the beats suck, Jay E is a terrific producer and arguably half of the reason of Nelly’s success, but rather because the guy produced most of the original incarnations of these songs which were mostly not broke and therefore not in need of fixing.
Apparently he agreed with that assessment because the changes to his instrumentals are minimal to nonexistent. All that’s really added are newly recorded guest appearances which vary from entertaining enough such as the Ron Isley-featuring version of Pimp Juice and the Clipse on #1, to meh such as the blink-and-you’ll-miss-it E-40 verse on Country Grammar, to godawful such as the new version of Batter Up which replaces B-team weedcarriers with Z-team weedcarriers. But the fact that Jay doesn’t go rampant creatively with altering his own shit might actually be for the better because the one time Jay E does actually change something substantial about a song the result is a version of Ride With Me that poorly attempts to fit the original hook into the melody of John Mayer’s No Such Thing for no other reason than that Nelly likes John and wanted to pay ‘tribute’ to him, which is very questionable reasoning at best. Nelly could‘ve called the guy up for a collabo and Mayer would probably have said yes, and that might’ve made for an entertaining collabo if Nelly’s later collabo with Tim McGraw Over and Over is any indication. In stead we’re left with this stupid shit that also does a terrible job at incorporating City Spud’s not-that-great-to-begin-with verse off the original version.
The remix of Hot In Herre which is credited to ‘Basemenent Beats’, a production team consisting of Jay E, Koko and Wally Beaming (and City Spud who is m.i.a. here because of a ten year prison stint) is pretty fucking awesome with what sounds like a recreation of the Neptunes’ bleepy, bloopy original beat with live instrumentation. I guess he did have something to ad here because he didn’t have a hand in creating the original instrumental.

Mississippi rapper and producer David Banner remixes E.I. into something much more scandalously entertaining than the original, although there wasn’t much need to tack on a second version of this remix on the end of the album with his boys from the St. Lunatics featuring but substituting verses with catchphrases (This version does however work really well as a floor-filler at parties, so perhaps it is the Nelly-solo version that is the redundant track out of the two.) His rock version of Air Force Ones however a fairly lame deal, which is a shame because new guest verses by himself and southern legend 8ball are a lot better than what the ‘Tics had come up with for the original.

Jermaine Dupri’s new version of Dilemma exposes the song for having been very reliant for its effect on its sappy original production as this stripped down version sounds dry and superficial. Scott Storch transforms Work It into an altogether more slinky affair that probably would’ve sounded better if Nelly hadn’t decided to re-record his vocals after popping a shitload of ritalin. It is what it is and it is mystifying.

That leaves a three original songs. Iz U is a pretty cool trunk-rattler that wouldn’t have sounded out of place on Nellyville, that goes for Kings Highway and the Neptunes-produced If as well. Perhaps he was cleaning out the vaults or something. Anyway these songs are probably the only real reason for owners of Country Grammar and Nellyville to pick up The Reinvention.
In 2003 that might’ve cut it as an incentive for purchasing this album. In 2014 however you can just buy the individual songs off iTunes or Amazon and you’ll have all the added value of this album to Nelly’s catalogue for a lot less money than you would spend on the entire disc. That’s not to say Da Derrty Versions sounds bad. It’s a fairly decent Nelly-playlist, and with the exception of Air Force Ones and Ride With Me these remixes don’t actually sound any worse than they do in their original versions. Props for culling the only good song Groovin’ Tonight off that godawful St. Lunatics album, even if it was only to get incarcerated Lunatic City Spud some commisary (That would also explain why Spud is on that strange and shitty Ride With Me-John Mayer mashup). But if you’re a fan of Nelly’s you could probably make a much better Nelly-playlist yourself with the technology being available and manageable to everyone and their grandmother, making The Reinvention a dinosaur from a bygone era.

Best tracks
Iz U
If
Hot In Herre [Basement Beats Remix]
King’s Highway
Groovin’ Tonight
Pimp Juice [Jay E Remix]

Recommendations
Buy the above tracks off iTunes or Amazon, or pick this out of the used CD bin you find it for under six dollars.


John Mayer – Room For Squares

John Mayer
Room For Squares
June 5, 2001
Aware RecordsColumbia RecordsSME
055/100
John Mayer - Room For Squares
1. No Such Thing // 2. Why Georgia // 3. My Stupid Mouth // 4. Your Body Is a Wonderland // 5. Neon // 6. City Love // 7. 83 // 8. 3X5 // 9. Love Song for No One // 10. Back to You // 11. Great Indoors // 12. Not Myself // 14. St. Patrick’s Day

John Mayer is a rather controversial figure. Depending on whom you ask about him you may get aswers that range musically from guitar-strummy coffee house music-wimp to blues god in the making, and personally from douchebag lothario shagging his way through as many Hollywood debutantes as possible to an entertainingly sober individual with a healthy sense of humour about his celebrity status.

They’re all true to different degrees, depending on what stage of Mayer’s career you’re checking out. With his major-label debut Room For Squares, which recycles five songs from his EP Inside Wants Out, we get a blend of all of them, but the music backing his phlegmatic tenor mostly push this in the coffeehouse wimp territory and the album’s biggest hit, the Grammy awarded Your Body’s a Wonderland, is a prime piece of douchebag lotharionism or a practical joke on the listener, or perhaps both even.

Still for what it’s worth Mayer plays the roll of ‘that boring dick with the guitar that gets the girls to swoon’ with skill and gusto and proves himself to be a pretty skilled songwriter in the process. The opening number No Such Thing is the joint for those who were complete nonfactors in high school but were never that angsty or depressed about it and have since bounced back.
My Stupid Mouth is a potential anthem for those who accidentally call the uncalled for and fuck up socially because of it, and Your Body Is a Wonderland may be everything she needs to hear to give it up already in one neat little package, but it’s still gentle and full of wonder enough to not be the R. Kelly song it for better or worse could‘ve been. It’s also the only thing on here that contains any sort of subject matter that might get any of the young ladies that follow John Mayer’s career to blush because it elaborately talks about fucking, sort of. Apparently John for the time being took his own My Stupid Mouth to heart because all of the other material is so clean it squeaks.
Other highlights are the jazzy nighttime infatuation ride of Neon and the breezy celebration of off-and-on relationships that is Back to You. All of these are skilfully written with attention to detail, but thanks to their production even they all sound alike. Apparently producer John Alagia (of Dave Matthews band fame) is not a fan of risk-taking and Mayer’s later characteristic bluesy guitar playing is left out of this album entirely in favour of poppy jazz lite and folk lite stylings, which may not sound bad but also aren’t remotely memorable. ’83 and 3X5 are so lacklustre this reviewer can’t remember jacques merde about them despite having heard Room for Squares several times in its entirety. That goes for all the songs not mentioned as well.

Room For Squares is promising in that it doesn’t completely suck but isn’t that good either. It’s basically what a Norah Jones album from the same time would’ve sound like if Jones was a guy. Still despite the fact that the presentation is entirely lukewarm a handful of these songs are fairly good and that gives off the promise that Mayer could be an interesting artist if backed by a more engaging sound and let his hair down a little.

Best tracks
No Such Thing
Why Georgia
My Stupid Mouth
Your Body Is a Wonderland
Neon
Back to You

Recommendations
Don’t bother with this one. Chances are these songs can be found a lot more alive-sounding on one of Mayer’s live-albums, or on his acoustic debut EP Inside Wants Out even.