Category Archives: 1989

Christopher Williams – Adventures In Paradise

Christopher Williams
Adventures in Paradise
July 25, 1989
Geffen RecordsUMG
060/100
Christopher Williams - Adventures In Paradise
1. Talk to Myself // 2. Sexy Sex // 3. Never Let Our Love Die // 4. (Lift You Up) Turn You Around // 5. Paradise // 6. Promises, Promises // 7. One Girl // 8. If That’s What You Want // 9. I’m Your Present // 10. Always & Forever // 11. Lover Come Back // 12. Sweet Memories

The onslaught of high-quality, moderate length R&B albums coming from Uptown records couldn’t last forever. And while Christopher Williams’ debut album Adventures In Paradise isn’t an outright failiure, and at times showcases some fairly pleasant R&B music it doesn’t have the same amout of highlights that for instance In Effect Mode and Guy had, and it runs fifteen to twently minutes longer than either of those classics, which kind of means it runs fifteen minutes too long. Besides that Williams doesn’t have Al B. Sure!’s lithe and Guy’s… well Guy’s Teddy Riley throwing him beats. (On the other hand Timmy Gatling produces three songs on here. Guess it is nice to know het got at least one more Uptown/MCA paycheque after quitting Guy right before the group dropped a platinum album and started making money.) So while this album may not exactly be where it all turnt to shit it certainly is on of the less essential recordings from the ‘New Jack Swing’ era.

Williams sounds like a more relaxedly singing Johnny Gill, which is to say he’s a fine soul singer. It is also to say he is a little bland since, hate it or love it, Gill’s strenuously ferocious vocal stylings are what set him apart from the pack more than anything else.
But Williams certainly sounds like he could be a compelling singer given the right collaborators. Teddy Riley, Babyface & L.A. Reid and Jimmy Jam & Terry Lewis come to mind.
Timmy Gatling, Nick Martinelli, Nick Matkosky, Robert Brookins, Nevelle, Joel Davis, DJ Eddie F and some guy who goes by the moniker of Wokie are what he works with here in stead. Although Andre Harrell did sign off on Gerald Levert providing a couple of songs before he left for a holiday trip to the Bahamas for the duration of this album’s recording (his name is nowhere to be found in the liner notes.) [EDIT: Which is because Adventures In Paradise  apparently was not released on Uptown Records. Apparently Williams only signed over to the label after releasing his debut to release his sophomore album Changes there. Oh well.]
To be fair this group of relative no-names and Levert churn out some perfectly adequate, impeccably produced late ’80s urban soul. There are a couple of dance numbers but Williams is mostly in quiet storm mode steering clear of hip-hop territory most of the time, which given the horrendous raps of the Guy-aping, Gatling-produced opening track Talk to Myself, which manage to rhyme ‘departed’ with ‘retarded’ may be a huge blessing. Still, for the most part the album fails to grab the listeners attention. This may make it perfect background noise for shopping malls and the like but it also makes it seriously unfit for keeping in a music collection.

Although Adventures In Paradise may not be very exciting there surely is a market for it. I can imagine your Freddie Jackson loving, fifty year old aunt just melting away listening to this album. If her birthday is coming up you might as well throw a couple of nickels over the counter at the used CD shop may you come across this there (I can’t image too many copies lying around in other places).
But for all other intents and purposes this album is probably rather useless. These days you probably couldn’t even get laid to songs like Sexy Sex anymore (Unless you’re into hotel elevator hookups). There’s nothing remotely memorable about Adventures In Paradise. I should know, I just listened to the thing and besides that sucky amateur rap at the beginning I can’t remember a specific thing about it.

Best tracks
Talk to Myself is quite good, even if the rap bits are cringeworthy. It really makes one wonder how big Timmy Gatling’s roll was in producing Guy. It must’ve been bigger than everyone thought because Talk to Myself sounds exactly like a Guy song. Either Timmy was as important to Guy as Teddy was or he decided to take one of Teddy’s spare beats with him to sell before storming out of the band’s back door never to return and that beat became Talk to MyselfThat theory was more interesting than the entirety of this album unfortunately.

Recommendations
Don’t buy this album. Or do buy it. Whatever, I don’t care. It’s your elevator.

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Heavy D & the Boyz – Big Tyme

Heavy D & the Boyz
Big Tyme
June 12, 1989
Uptown Records/ MCA RecordsUMG
080/100
Heavy D & the Boyz - Big Tyme
1. We Got Our Own Thang (feat. Teddy Riley) // 2. You Ain’t Heard Nuttin Yet // 3. Somebody For Me (feat. Al B. Sure!) // 4. Mood For Love // 5. Ez Duz It, Do It Ez // 6. A Better Land // 7. Gyrlz, They Love Me // 8. More Bounce // 9. Big Tyme // 10. Flexin’ // 11. Here We Go Again, Y’all // 12. Let It Flow

Living Large... may be considered a classic today (for reasons unknown to this reviewer because I recall it being a wildly uneven effort with lots of sucking and only a handful of good songs) but it never sold that well. Big Tyme was the point where Heavy D & the Boys became what you could consider commercially succesful, selling over a million copies and hitting #01 on the R&B album-charts.
The is discrepancy in sales figures between the debut album and this one is entirely justified, to this reviewer anyway, Big Tyme is in fact a much superior album with a much slicker sound and a much better hit/miss ratio. Four of these songs were released as singles, and while none of them were charting hits of importance (except for We Got Our Own Thang which apparently hit #15 in the Netherlands) they’re all considered classics of the golden age of hip-hop.

Big Tyme is well mannered and good natured frivolity. Gangsta rap may have been taking flight on the West coast to land itself in college dorms nationwide to the sound of cash registers clanking, but D likes to pretend that it never happened because on this album he’s as much in B-Boy mode as RUN-DMC was in ’83; bragging about his rhyme skills and hollering at the ladies but never in a menacing manner. He never so much as drops a single curse.
(Unless you count “Happy like a faggot in jail.”, which is in fact sort of shocking in how cheerfully casual it is dropped. Remember kids Big Tyme is from a different era in which homophobia was much more commonplace and accepted than it is today.)
The guy sounds as though he wouldn’t hurt a fly, but would beat you in a rap battle and then proceeded to run off with your girlfriend. D’s rhyme style hasn’t changed one bit since the last time around.

His musical backdrops, provided by his DJ, Eddie F, his cousin Pete Rock and old school powerhouse Marley Marl, as wel as himself, are a lot more melodic, slicker and less clunky than they were the last time around, which helps the medicine go down tremendously. We Got Our Own Thang may have been Teddy Riley’s loungiest creation yet, Somebody For Me makes one wonder why Dwight never got to appear on In Effect Mode because not only were they labelmates but him and Al B. Sure! display some pretty cool chemistry, More Bounce isn’t boring at all despite rocking an overplayed Zapp sample. Even the faux-reggae of Mood For Love and the preachy as fuck Better Land aren’t a stinky sort of cheesy. Let It Flow and Flexin’ have some old fashionedly cool beats that would make for good background at a house party.
Even the mandatory boastfest about D’s success with the opposite sex Gyrls, they Love Me sounds pretty good.
The title track samples James Brown’s Sex Machine for the third time in D’s career (and the second time on this album) and finally creates a good update.

While there are almost zero instances of the man dropping any mind blowing knowledge (although he does speak some truths about crack cocaine and rap-haters on Better Land) that really isn’t or shouldn’t be the point of a Heavy D album. In stead one should admire the nimbleness of his flows and the catchiness of his music. In fact calling Heavy D a ‘party rap’ artist wouldn’t do the man a disservice because having a good time appears to be what the man was all about and this, ladies and gentlemen, is party rap par excellence.
One shouldn’t underestimate the importance of a hefty dose of good spirited, unadutered fun every once in a while, and backed with some seriously good music this is exactly what Big Tyme provides. It’s a throwback to a time when the hip-hop genre knew not to take itself so seriously all the time and for all these things it deserves a revisit.

Heavy D. rest in peace. May your memory live on.

Best tracks
We Got Our Own Thang
Somebody For Me
Gyrlz They Love Me
More Bounce
Big Tyme
Flexin’

Recommendations
Buy this album.


Above the Law – Livin’ Like Hustlers

Above the Law
Livin’ Like Hustlers
December 1989 (Promo cassette version)
February 22, 1990 (Full version)
Ruthless RecordsEpic RecordsSME
085/100
Above the Law - Livin' Like Hustlers
1. Murder Rap // 2. Untouchable // 3. Livin’ Like Hustlers // 4. Another Execution // 5. Menace to Society // 6. Just Kickin’ Lyrics // 7. Ballin’  // 8. Freedom of Speech // 9. Flow On (Move No Mountain) // 10. The Last Song (feat. Dr. Dre, Eazy-E & MC Ren)

Above the Law is an Pomona CA hip-hop group that originally consisted of rapper/ producers Cold 178um and KMG the Illustrator as well as DJ Total K-Oss and Go Mack, who presumably was a hype man. And when their debut album Livin’ Like Hustlers dropped the Ruthless Records franchise was on a roll. Albums by N.W.A, Eazy-E and the D.O.C. had all gone gold to platinum cementing the label’s status as the preeminent hip-hop label of the day. Not only that but they were also able to release an album that quite succesfully catered to the R&B market (back in 1990 hip-hop and R&B were two distinct genres that were just starting to cuddle up) by songstress Michel’le.

What all these albums had in common was wall-to-wall Dr. Dre production with the occasional help from DJ Yella and/or Laylaw. Now their latest signees Above the Law were producers as well as rappers, but Dre is credited as a co-producer on every track on here, as he was credited with producing every track on every track on every Ruthless Records album so far.

It should be noted that Livin’ Like Hustlers doesn’t sound like any Dre production so far, except maybe the song the Formula off the D.O.C.’s No One Can Do It Better. Everything else he had done so far had been a lot more fast-paced and funk/dance-influenced, whereas this album is more mellow, jazzy and classic soul oriented. This could be explained by the fact that on Straight Outta Compton and Eazy-Duz-It the Doctor was aided by DJ Yella, on No One Can Do It Better he was left to do the beats himself and here he co-produced it with the entirety of the group. Another possible explanation is that Dre had just worked on an actual R&B album with slow jams on it, and therefore was in another state of mind than he would have been coming out of an N.W.A recording session.

Anyway, the mellow paced jazz/ soul vibe, with the elaborate use of more melody than was usual in hip-hop at the time, combined with rappers Cold 178um and KMG the Illustrator’s archetypical gangster raps (the album’s title should provide ample warning to those who aren’t into that sort of thing) definitely make this a prototype for the G-funk sound that Dre would rule the airwaves with less than three years later. And whether Dre or ATL produced the lion’s share of the music  they were all at the cradle of some revolutionary stuff here.

Given that there’s some controversy over who did what here I tend to go with ATL as the main musical architects, not only because of how the music sounds and how contemporary Dre beats sound, but also because Dre prescriptions tended to come with bits of Dre backing vocals at this time, which he does do here, but only on the title track, Just Kickin’ ItFlow On and the Last Song so I assume the man didn’t have much input with the remaining six songs. In all likelihood Dre put in a beat or two while ATL made most of these tracks themselves and had Dre adding some finishing touches to what they came up with. (But like everyone else who isn’t Dre or an ATL member I’m only guessing here. It’s not like I was even born yet when they recorded the fucking album or anything.)

As for the vocals, KGM and Cold 187 (whom I shall henceforth call by his other rap nickname Big Hutch, because that sounds more like something one would actually call a person) are technically proficient behind the mic. They basically come across as less lyrical, less nimble, more gangster-oriented versions of their then recently muted labelmate the D.O.C., what with their mid range voices and their ease behind the mic, which is to say they sound just fine. Although they lack Ren’s understated menace, Cube’s grit and Eazy’s natural, over-the-top charisma, their average-guy-from-the-street personas help these raps about the gangster lifes sound a lot less like they’re glorifying violence, misogyny and what not, as opposed to the various members of the world’s most dangerous group, who usually come across as a bunch of happy-go-lucky, murderous, alcoholic, wife-beating, crack-selling, “walked into the store, said this is a robbery, don’t need the money, it’s just a hobby” cartoon characters of Afro-American stereotypes on their albums, whereas ATL keeps things, if not real than at the very least plausible. The ATL rappers sound as though they could blast your brains out in a back alley, though they wouldn’t do it unless they had no other choice, and even then they still wouldn’t get their kicks out of it.

Highlight include the the ominous Murder Rap and Another Execution, the horned-up Untouchable and Livin’ Like Hustlers, the anti-censorship Freedom of Speech as well as the mandatory Ruthless posse cut on the tail end of the album on which Ren and Eazy take the shine (and on which Ice Cube and the D.O.C. shine in absence, the former because he was the only one out of N.W.A who chose to not get bent over by Jerry Heller and took his business to Priority Records in stead, and the latter because he had his vocal chords slashed in two in a car crash and was unable to rap.)

There’s only one wack moment on here, that would be Ballin’, which is all about how down Above the Law are with N.W.A and the D.O.C., throws an unnecessary stab in the direction of every rapper on the East-Coast (so this East-West rap beef was already a thing, huh?) and has an instrumental too fruity for its own good.

But besides that one misstep Livin’ Like Hustlers features nine tracks of pure gangster rap gold, that unlike N.W.A may have been forgotten by a lot of today’s rap audiences  and may not sound a lot like Straight Outta Compton but is almost equally entertaining and has had a lot more influence than it is given credit for on the genre as a whole, being a stepping-stone in the direction of the Chronic. (and with everybody from DJ Quik to Lil’ Kim to 2pac borrowing beats from this album).

This album deserves to be revisited.

Best tracks
Murder Rap
Untouchable
Another Execution
Menace to Society
Freedom of Speech
The Last Song

Recommendations
Buy this album.


Michel’le – Michel’le

Michel’le
Michel’le
October 23, 1989
Ruthless Records/Atlantic Records/ WMG
080/100
Michel'le - michel'le
1. No More Lies // 2. Nicety (feat. Dr. Dre) // 3. If? (feat. Michael Holmes) // 4. Keep Watching // 5. Something In My Heart // 6. 100% Woman // 7. Something In My Heart // 8. Silly Love Song // 9. Never Been In Love // 10. Close to Me // 11. Special Thanks // 12. If? [Reprise] (feat. Michael Holmes)

While Ruthless Records is rightfully known as a quintessential gangsta rap label they also dabbled other genres, such as R&B (back when hip-hop and R&B were distinct musical genres sorta, kinda). Michelle Toussaint, Dr. Dre’s then-girlfriend, was the first non-rap act to release an album on the world’s most dangerous record label. With Dre and Yella producing the album wall-to-wall, Eazy-E overseeing everything and Jerry Heller walking away with most the money Michel’le is every bit as much an N.W.A offshoot as Eazy-Duz-It yet it is always overlooked or straight-up ignored by hip-hop fans, ostensibly because it isn’t a hip-hop album. But for those open-minded enough to listen to something different every once in a while, it has plenty to offer.

For those expecting an album full of Straight Outta Compton-styled beats, with singing over them in stead of rapping, because Dre was involved, Michel’le might come off as a bit of a disappointment. Dre was and is more malleable than that and actually goes for broke in an attempt to create a legitimate urban soul album and wholly succeeds in making the proceedings sound authentic in the instrumental department, providing an intoxicating mix of dance, quiet storm, hip-hop lite and new jack swing. If the credits said everything was produced by Babyface that would’ve been completely believeable, which isn’t something one would expect from a Dr. Dre-produced record, having listened to Straight Outta ComptonEazy-Duz-It or No One Can Do It Better.

If today an R&B album is released on a label that houses several famous rappers, said rappers are usually all over the album dropping verses, trying to be good employees and bidding for crossover appeal. Except for a blink-and-you’ll-miss it Dre verse on Nicety no-one in N.W.A, JJ Fad or Above the Law appears in anything but skit or background vocal capacity giving our hostess the room to show her talents, a smart move.

Michel’le is a talented, confident singer who could easily go toe-to-toe with more famous contemporaries such as Toni Braxton or Tamia. Her strong, full bodied, thunderous singing voice (which forms a hilarious contrast with her squeaky Betty Boop speaking-voice, which can be heard on the second last track Special Thanks) is ripe with emotion without her trying to hit every note in existence, Whitney Houston/ Mariah Carey/ the Voice-style. The lyrics, written by Laylaw and the D.O.C. and Michel’le herself are classy, consistent, clever and sticking to a theme in a way that is completely absent from a lot of R&B music these days.

She shines on both the uptempo ass-shakers (No More LiesNicetyKeep Dancing100% WomanNever Been In Love) and the slow jams (If?Something In My HeartSilly Love SongClose to Me)

With only twelve tracks, ten of which are actual songs, there is little room for filler and the album doesn’t overstay its welcome at all.

Michel’le was a hit upon release, racked up a bunch of hit songs, sold tonnes of records and helped pave the way for other hip-hop-soul songstressed, including but not limited to Mary J. Blige, TLC, Faith Evans and SWV. Unfortunately for her and music lovers her career more or less ended with this album, after which she was relegated to the occasional cameo appearance on Ruthless-released albums (and later on on Death Row Records). And she wasn’t able to put out another album until 1998 when everyone had forgotten all about her, on the sinking ship that was Death Row Records. That record flopped accordingly.

Michel’le is a very entertaining album that despite you never having heard of it is worth your hard-earned cash and is deserving to be known as the classic that it is.

Best tracks
No More Lies
Nicety
Keep Dancing
100% Woman
Never Been In Love
If?
Something In My Heart
Silly Love Song
Close to Me

Recommendations
To those who enjoy soulful, well-put together R&B with a vintage sound Michel’le is a must-own. For those who dislike today’s R&B because they find it overproduced, lacking in the musical department and/or sounding like it was recorded by cyborgs rather than humans, by all means should give Michel’le a try.


Arabian Prince – Brother Arab

Arabian Prince
Brother Arab
September 1, 1989
Orpheus RecordsEMI
055/100
Arabian Prince - Brother Arab
1. Sound Check // 2. She’s Got a Big Posse // 3. Get On Up // 4. Let the Good Times Roll (Nickel Bag) // 5. Never Caught Slippin’ // 6. I Got a Big Bonus Beat// 7. Situation Critical // 8. It’s a Dope Thang // 9. It’s Time to Bone // 10. Now You Have to Understand // 11. Getting Down 

Arabian Prince is mostly known for having been part of seminal gangsta rap group N.W.A, recording with them on N.W.A and the Posse and (allegedly) Straight Outta Compton, (allegedly) getting his vocals stripped from all but one song in post-production, the song he was still on essentially being a bonus track, tacked onto the album as an afterthought (and oft-cited as the reason Straight Outta Compton isn’t the perfect album it could have been), after the boys from Compton had decided that they didn’t really want to be an electro-funk dance outfit but the world’s most dangerous group in stead (Up until then Dre, Ren Eazy, Cube and Yella had been in a severe identity crisis, and when they had made-up their mind Arabian Prince got kicked out for what essentially constitutes “creative differences”.).

Keeping this in mind it is funny that Arabian Prince, for whom unlike Michel’le (another witness to Dr. Dre’s shady electro past) apparently there wasn’t even room as a solo-artist on Ruthless Records, comissioned an album cover that makes it seem as though he’s still very much part of the world’s most dangerous music franchise. What with the blood-red font in which his name is written, the dark shades and Raiders cap he sports and his gold rope-chain.

Despite what Brother Arab and/ or the people at Orpheus Records would have you believe, this is not N.W.A-offshoot. Not only as a matter of fact, but also in spirit.
Prince, who is all by himself here in the vocal booth, doesn’t drop the N-word anywhere, or any other curse word for that matter. This isn’t a problem in and by itself, profanity-free music can work (maybe even profanity-free gangsta rap) but it is is odd for a man from a gang called Niggaz With Attitude, coming straight out of Compton. And Brother Arab doesn’t quite pull it off lyrically, dropping some pretty pedestrian, clunky and unappropriately clean raps about achetypical gangsta rap subjects about violence, drugs and [bleep]ing your girl.

The beats all sound derivative, be it with jazz influence (Let the Good Times Roll (Nickel Back)I Got a Big Bonus Beat), like Compton Dre made them while on ritalin (She’s Got a Big PosseGet On UpNever Caught Slippin‘, Situation Critical) (This apparent lack of urgency may not be the beats fault, it may be just because unlike his former homeboys Arabian Prince doesn’t come across as remotely scary or violent) or the electronic dance-music N.W.A made in the form of Panic Zone and Something to Dance To (It’s a Dope ThingTime to BoneGettin’ Down)

It would seem that Dre, Cube, Ren, Eazy and Yella may have had a good reason for cutting Arabian Prince loose. Dude doesn’t have Cube or Ren’s rhymes, Eazy’s charisma or Dre and Yella’s beats (although the album cover does show that the man had some of that Suge Knight business sense). One is hard-pressed to see this guy contribute anything substantial to Straight Outta Compton, and he didn’t deliver the goods with his solo-debut either, which helped make his irrelevance and obscurity complete.

Best tracks
Get On Up
Let the Good Times Roll (Nickel Bag)

Recommendations
Don’t buy this album.


The D.O.C. – No One Can Do It Better

The D.O.C.
No One Can Do It Better
June 16, 1989
Ruthless Records/Atlantic RecordsWMG
090/100
The DOC - No One Can Do It Better
1. It’s Funky Enough // 2. Mind Blowin’ // 3. Lend Me an Ear // 4. Comm. Blues (feat. by Michel’le) // 5. Let The Bass Go // 6. Beautiful But Deadly // 7. The D.O.C. and the Doctor // 8. No One Can Do It Better // 9. Whirlwind Pyramid // 10. Comm. 2 (feat. MC Ren) // 11. The Formula // 12. Portrait of a Masterpiece // 13. The Grand Finalé (feat. Ice Cube, MC Ren & Eazy-E)

The story of the D.O.C.’s rapping-career is a tragic one. After his rap group the Fila Fresh crew got to take part in what some consider to be N.W.A’s first album N.W.A and the Posse the world’s most dangerous recording group probably learnt of the man’s existence when they finally got to listen to it themselves after they found out Macola Records released the damn record, which was a collection of some of their singles, with some unrelated songs by random artists thrown in for good measure, without their permission while they were touring.

Fortunately for N.W.A though their “posse album” sold a ton of copies, birthed their career and fortunately for D.O.C. they liked his contributions enough that he could parttake in the recording of the seminal gangsta rap classic Straight Outta Compton, writing rhymes for Dre and Eazy and lending vocals to several tracks, such as on Fuck the Police (it’s Doc on the intro).

Then as a reward for helping Eazy and Dre sound competent behind the mic he got to record his own album No One Can Do It Better, released in the summer of ’89,

In 1989 rhyming about how good you are at rhyming (rhymeception, if you’re into terrible cornball-ass gag-humour) was the thing to do. Everyone from RUN-DMC to the Sugarhill Gang had proclaimed their dominance over the rap game as well as their own superiority over “sucker MC’s” at one time or another, and perhaps rightfully so since RUN and DMC’s nursery rhymes had been cutting edge when the world first heard them. When the D.O.C. proclaimed dominance over the rap game however it was simply a matter of fact beyond a shadow of a doubt. No one could do it better indeed, bar maybe Kool G Rap, Rakim or KRS One.

D.O.C.’s rhymes and delivery were lightyears ahead of even his boys in N.W.A in terms of multi-syllable complexity. Peep this.

Ship it, ship it to the stations
in your jurisdiction
Others say I’m dope
and the others think I’m bitching
No crowd can avoid the D O to the C
When I’m P E R F O R M I N G
D.O.C. – It’s Funky Enough

And besides his lyrics and flow being on point the D.O.C. had enough skill to make it all feel natural and unforced. For all it’s expertly constructed complexity the guy is here for you entertainment first and formost, and even if his vocabulary is larger than average he doesn’t repeatedly and offensively smack the listener in the face with it, like for instance Canibus does whenever he drops one of his fucking albums. Also helping matters is the wall-to-wall pre-chroniced Dr. Dre-production, which brings a distinct funky, dusty scratchy atmosphere for our host to rhyme in. The combination of these beats and these rhymes make the D.O.C. one of the few old school rappers whose music could challenge the works of rappers from the second golden age, such as Nas, Biggie, Jay-Z or the Wu-Tang Clan when it’s enjoyability that’s concerned.

No One Can Do It Better has aged perfectly, with everything sounding vintage rather than outdated.

The best-known song It’s Funky Enough‘s opening line “One, and here comes the two to the three and four” is one of the most re-used in the hip-hop genre. The song’s instrumental is funky aplenty, and the song is hands-down the catchiest thing on here. With no profanity to speak of and and a beat that makes people want to shake their money makers and yet doesn’t compromise the Ruthless Records gangsta rap sound it’s a lesson in making a lead single for a rap album.

D.O.C. and the Doctor is the mandatory ode to the DJ that appears on all early hip-hop album, back when hip-hop albums had one producer per album, rather than five new producers (and twelve guest rappers as well as eight autotuned R&B singers) per individual song. Rather than the corny dickriding that constitutes most such cuts this is a display of actual chemistry between the rapper and the producer.

Mind Blowin’ is another display of the Doc and the Doctor’s combined potential being reached with Dre providing some percussive piano keys for his boy to play around with his words and his flow over to great effect.

Lend Me an Ear is sonically a much faster paced Straight Outta Compton with D.O.C. ripping the beat to shreds and quite succesfully  making a case for him being one of the best rappers ever.

The Formula may be the point where Dr. Dre discovered the G-funk sound that would revolutionise the rap world when he put out his solo debut in ’92.

Beautiful But Deadly, the mandatory ode to gold digging evil women, has a Licensed to Ill-era Rick Rubin-esque instrumental, what with it’s hard rock quitars and its distinctly funkless sound. It’s an interesting enough diversion since it sounds like nothing else on here, but it still fits in with the rest since it shares Doc’s golden voice, rhymes and delivery with the rest of the tracks.

The album ends with the Grand Finale, a Ruthless Records posse cut with Doc plus everyone in N.W.A minus Dre going for broke over the most Straight Outta Compton-esque instrumental of the album, and Doc being on par with the world’s most dangerous group.

Every song on here bangs, even the two commercial-themed interludes have their place. No One Can Do It Better leaves one salivating for more. Unfortunately for the world of hip-hop and for Doc himself he would lose his ability to rap soon after this album’s release when his vocal chords were severed after he flew through a windshield in a car crash, leaving him a thin rasp of a voice that was lightyears removed from his pleasant smooth voice displayed on here, relegating Doc to perform on skits on N.W.A’s and later Dr. Dre’s albums, as well as the ghostwriting that had made him the unofficial fifth member of the Comptonite posse in the first place.

Make no mistake, the D.O.C.’s loss of voice was every bit as much of a loss to hip-hop as the murder of the Notorious B.I.G., and No One Can Do It Better is all the proof one needs for it. Unlike Biggie and 2pac however Doc, who didn’t die a martyr’s death (he’s still alive today), wasn’t namedropped as frequently by other rappers, which means that very little of today’s rap music fans actually know who he is. (On the plus side Ruthless Records has withstood the temptation of pairing every shred of D.O.C. vocals with the likes of T.I. and Lil Wayne on frankensongs with krunk beats, released on “Tribute albums”.)

This is all the more reason to revisit No One Can Do It Better, a criminally underrated rap album that has stood the test of time a lot better than most rap albums from the 1980s. An album that gives off an unfulfilled promise of a long and prosperous career in music.

Best tracks
It’s Funky Enough
Beautiful But Deadly
The Formula
Lend Me an Ear
Portrait of a Masterpiece
The Grand Finalé

Recommendations
Pick this one up, now.