Tag Archives: Brian G.

2pac – Me Against the World

2pac
Me Against the World
March 14, 1995
Out Da Gutta Records/ Interscope RecordsUMG
073/100
2pac - Me Against the World
1. Intro (performed by Dan O’Leary, Debbie Hambrick, Jay Jensen, Jill Rose & Sarah Diamond) // 2. If I Die Tonite // 3. Me Against the World (feat. Dramacydal & Puff Johnson) // 4. So Many Tears (feat. Digital Underground, Stretch & Thug Life) // 5. Temptations // 6. Young Niggaz (feat. Killa, Funky Drummer & Moe Z.M.D.) // 7. Heavy In the Game (feat. Richie Rich, Ebony Foster & Lady Levi) // 8. Lord Knows (feat. G-Money, Kenyatta Forman, Killa, Kim Armstrong & Natasha Walker) // 9. Dear Mama (feat. Reggie Green & Sweet Franklin) // 10. It Ain’t Easy // 11. Can U Get Away // 12. Old School // 13. Fuck the World // 14. Death Around the Corner// 15. Outlaw (feat. Dramacydal & Rah Rah)

2pac is  the JFK of rap: very charismatic, inspirational and influential, surrounded by drama during his lifetime and conspiracy theories in death, fairly popular when he was alive but never moreso than after he got shot and killed in the public eye and, if we’re being completely honest with ourselves, overrated as hell in what he actually achieved in the realm of the living while nobody can say with any accuracy just what the guy could and would’ve done if his ending was less premature.
It’s not as though the man didn’t leave a slew of commercially and artistically succesful releases in his wake. In fact every album he released up until this one has already gotten a recommendation for a purchase on this website. But he never dropped anything as significant as Ready to DieIllmaticReasonable Doubt or The Chronic and the almost god-like reverence many people had for him, the phrase “best rapper dead or alive” was dropped casually in one sentence with the name 2pac on a regular basis, in the late ’90s and the naughties was ridiculous. A lot of people held the opinion that not only are Brenda’s Got a BabyKeep Your Head Up and Dear Mama deep and meaningful songs (which admittedly they are), but that also they aren’t at all at a contradiction with his more violent, misogynistic, homophobic and otherwise less socially responsible moments, most infamously Hit ‘Em Up. In other words 2pac could get away with pretty much anything on his albums and still be considered a martyr and a saint, so long as he included at least one thoughtful or pseudo thoughtful track on there. The truth is probably that while 2pac, a classically trained actor mind you, was one of the few people in gangsta rap who could deliver both conscious material and hyper violence with equal fervour and credibilty, there was never as much of a unified vision to it as his fanboys would like you to believe. He was just really good at setting moods, no matter what that mood was. And it should be noted that 2pac may have lived a lot of shit he rapped about, he had been in prison and he may not have seriously known or believed it when he layed down some of those vocals but he would eventually meet a violent death in the streets, but there was a lot of fiction in his raps too: He never seriously was a drug dealer for instance and it was sort of mathematically impossibly for him to beef with everyone he mentioned on 7 Day Theory, so Pac may not have been the realest motherfucker to have ever existed, he was however life sized.

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Y?N-Vee – Y?N-Vee

Y?N-Vee
Y?N-Vee
October 18, 1994
PMP/ Rush Associated Labels/ Def Jam RecordingsBMGSME
063/100
YNV
1. Even When U Sleep // 2. All I Wanna Do // 3. 4 Play // 4. I’m Going Down // 5. Sceamin’ // 6. Sonshine’s Groove // 7. Chocolate // 8. Stra8 Hustler // 9. Tricks-N-Trainin’ (feat. Abstract Rude) // 10. Y?N-Vee // 11. Real G // 12. Gangsta’s Prayer // 13. We Got a Good Thing

One of the most amusing things about writing about pop music and researching its shelf life is that one is regularly confronted with odd fashion trends that appear to affirm that human history is cyclical. The hanging suspenders which are on full display on this album’s cover were apparently a thing twenty years ago, and fucking hell they made a comeback in street fashion not too long ago. If that doesn’t prove that humanity only makes technological progress but none ethically and therefor is doomed to repeat its mistakes increasingly efficiently until it inevitably causes its own demise then perhaps the next world war/ super genocide will.

L.A. based R&B/hip-hop quartet Y?N-Vee made its debut on that abysmal Johnny J album and performed most of the backing vocals on Thug Life: Volume 1. Apparently they inked a deal of their own with PMP Records, a Def Jam subsidiary that is best known for being the recording home of Montell Jordan. Their self-titled debut, and only album really, is the result of that signing. The Mary Jane-sampling Chocolate was a moderate hit apparently but Y?N-Vee never sold that many copies so everyone in the group had to return to their day jobs in order for Def Jam to recuperate that album advance shortly thereafter. Well not everyone in the group, apparently 2pac when he sprung from the klink in late 1995 still had Natasha Walker’s phone number in his rolodex from the Thug Life sessions so she got to be an unsung assistent to the creation of the diamond-selling, very first double CD of original material in the hip-hop genre All Eyez On Me. I’m sure that the paycheques for that job kept the lights on for a while, provided that Suge actually felt like sending them out off course. Given that Walker had a working relation with Johnny J and Thug Life, both before and after recording this album, it’s odd that they don’t make an appearance. Surely a 2pac guest appearance would’ve been big enough a selling point of this album for someone at Def Jam to pull out the chequebook? I’m also quite certain the man was available for the job. It’s not like he was in the hospital for being shot multiple times or in prison for being a convicted rapist yet. Was even Big Syke too busy polishing Pac’s boots to phone in a verse?

Y?N-Vee isn’t the most distinctive sounding mid-’90s R&B outfit out there, they basically sound like Zhané with rappers among its ranks, but Walker has a rather pleasant singing voice, and the rappers, while not dropping any knowledge, is perfectly competent at talking over instrumentals. Speaking of which: the production backing these girls, mostly courtesy of Doug Rasheed, isn’t half bad either. Mixing quiet storm and G-funk isn’t the most original idea ever, but it was at that time a proven formula for success and these beats are pretty sexy in a vintage ’94 type of manner. Sampling Mary Jane on one song and covering I’m Going Down on another is a bit much though since Mary J. Blige did the same on her My Life album released about a month after this came out. (I realise that this means that Y?N-Vee then would be the originators of these ideas and P. Daddy Blige the jacker but My Life is a textbook classic of ’90s R&B and Mary J. Blige is still working today so it gets a pass even if that is a bit unfair to today’s subjects.)
Taken on its own though this album’s relatively friendly, relatively warm approach to quitessential R&B and hip-hop subjects such as intercourse, infidelity and substance abuse leaves little to complain about. While not shying away from expletives or otherwise explicit content it does steer clear of obscenity most of the time.

It’s difficult choosing highlights from this consistent, slightly dull record. Everything sounds sort of same-ish, except I’m Going Down which is less mundanely, less datedly written because it’s a cover of a classic R&B song that doesn’t concern itself with being street smart. Chocolate‘s impeccable, sunny borrowed Rick James-groove is seductive fun, comparing a woman’s body to weed or actual chocolate or something along those lines. Even When U Sleep is a sexy, confident opener that establishes the mood of this record nicely and All I Wanna Do is one of the most suave things on here. Stra8 Hustler and Gangsta’s Prayer are decent attempts at gangsta rap and Real G is an ode to that genre and the style associated with it, incorporating the same Eddie Bo Hook and Sling sample DJ Quik used for his classic Jus’ Like Compton, which is a nice touch west coast hip-hop fans will be sure to appreciate. But this albums strength lies not in highlighs but rather in consistency. There are no real duds on here, so you can put the CD on and get busy with your Bae without changing songs for sixty or so minutes (provided that you live in the 1990s off course), and that definitely counts for something.

Best tracks
I’m Going Down
Chocolate

Recommendations
If you’re the type of person who enjoy TLC records Y?N-Vee is for you.