Tag Archives: Old School Hip-hop

Public Enemy – Fear of a Black Planet

Public Enemy
Fear of a Black Planet
March 20, 1990
Def Jam RecordingsColumbia RecordsSME
070/100
Public_Enemy-Fear_Of_A_Black_Planet-Frontal
1. Contract on the World Love Jam // 2. Brothers Gonna Work It Out // 3. 911 Is a Joke // 4. Incident at 66.6 FM // 5. Welcome to the Terrordome // 6. Meet the G. That Killed Me // 7. Pollywanacraka // 8. Anti-Nigger Machine // 9. Burn Hollywood Burn (feat. Ice Cube & Big Daddy Kane) // 10. Power to the People // 11. Who Stole the Soul? // 12. Fear of a Black Planet // 13. Revolutionary Generation // 14. Can’t Do Nuttin’ for Ya Man // 15. Reggie Jax // 16. Leave This Off Your Fucking Charts // 17. B Side Wins Again // 18. War at 33⅓ // 19. Final Count of the Collision Between Us and the Damned // 20. Fight the Power

This record has shock tactics written all over it, well compared to Public Enemy’s previous album that is, not in the grander scheme of things. It’s not as though It Takes a Nation of Millions to Hold Us Back shied away from potential controversy. It most certainly did not. But it didn’t have a song titled Burn Hollywood Burn on it either. Perhaps the absence of Rick Rubin allowed them to speak their minds in a less politically correct manner. After all, would it really be a good idea for a white guy to man the boards, recording a song called The Anti Nigger Machine, social commentary or not? It certainly was a bad idea for group member Professor Griff to make anti semitic remarks in a Washington Times interview not long before Fear of a Black Planet was to be created, publicity stunt or not. It is for this reason he was given the boot by Chuck D, albeit temporarily, and he didn’t participate in the recording either.

I don’t know why it is that Rubin left. He is jewish and Griff did say some vile shit about god’s chosen people, but like I said: that racist motherfucker was out. Maybe Public Enemy and the Bomb Squad figured that two albums into their career they had enough knowledge, experience and a sizeable enough fanbase of their own to get by without him. Fact is that Rubin did leave and the difference in sound quality is immediately noticeable. It’s not like the Bomb Squad fail to bring the noise, they certainly are competent producers. But the beats do sound somewhat less rich and polished than they did under Rubin. The difference isn’t huge or anything, but it is there.

Besides the sound being slightly less tight overall and the guys getting a little more caustic, possibly under the influence of their new friend Ice Cube who in 1990 was the agriest motherfucker on the planet, which is a story for another day, it is for the most part a continuation of the chosen direction for Chuck, Terminator X and Flav.
That “wall of noise” thing they had introduced the last time around had worked pretty well and Chuck D had always been as dope an MC as they come so why wouldn’t it be?

Fear of a Black Planet mostly concerns itself with institutional racism, which makes this album incredibly current since that discussion is very much a thing right now.
911 Is a Joke, mostly performed by Flavor Flav takes a dump on emergency help services for poorly responding to incidents in black majority neighbourhood areas.
Burn Hollywood Burn, which because of its line up is every old school head’s wet dream and rightfully so since it sounds terrific, is about negative portrayal of black people in tv. series and films. On the Incedent at 66.6FM the Beastie Boys get called out, possibly for being a white band stealing and polluting appropriating and gentrifying a traditionally black artform.
The title track goes against anti-interracial relationship bigotry, and there are many other critiques of other forms of percieved racism on here. You can agree or disagree with the points being made, but you can’t say these guys don’t make them with gusto, flair and engagement, plus it generally makes for sonically fairly enjoyable music.

All things considered Fear of a Black Planet is a good album that should satisfy fans of It Takes a Nation of Millions to Hold Us Back. Fact is that it’s not quite as good as that album is, which could be attributed to the loss of Rubin and perhaps Professor Griff depending whether he actually did anything musical in the group, but that’s not necessarily crippling the listening experience. After all lots of music is both not as good as that album and nevertheless still perfectly listenable.

Best tracks
911 Is a Joke
Burn Hollywood Burn
Fear of a Black Planet
Fight the Power

Recommendation
Pick this up.


Public Enemy – It Takes a Nation of Millions to Hold Us Back

Public Enemy
It Takes a Nation of Millions to Hold Us Back
June 28, 1988
Def Jam RecordingsColumbia RecordsSME
090/100
it-takes-a-nation-of-millions-to-hold-us-back-by-public-enemy
1. Countdown to Armageddon // 2. Bring the Noise // 3. Don’t Believe the Hype // 4. Cold Lampin’ With Flavor // 5. Terminator X to the Edge of Panic // 6. Mind Terrorist // 7. Louder Than a Bomb // 8. Caught, Can We Get a Witness // 9. Show ’em Whatcha Got // 10. She Watch Channel Zero?! // 11. Night of the Living Baseheads // 12. Black Steel in the Hour of Chaos // 13. Security of the First World // 14. Rebel With a Pause // 15. Prophets of Rage // 16. Party for Your Right to Fight

It Takes a Nation of Millions to Hold Us Back was the album that broke rapper Chuck D, hypeman flava Flav and DJ Terminator X; collectively known as Public Enemy, to the masses and showed the world that there was a market for densely produced, vigourously performed rap songs about unapologetically Afrocentric subject matter and social commentary interchanged with swaggering party tracks. It outsold their more B-boy orented 1987 debut Yo! Bum Rush the Show and went gold within a week of release. Obviously they didn’t do all this alone. They were aided by the Bomb Squad, a production crew consisting of Hank Shocklee, his brother Keith, Eric “Vietnam” Sandler, G-Whiz and Chuck D himself. They developed a new hip-hop sound that was charactarised by the intrumental being packed to the gills with samples. It was later dubbed “the wall of noise”, analoguous to Phil Spector’s revolutionary “wall of sound” in the ’60s. The impressive thing is that that is hardly an overstatement. Compare how different for instance N.W.A sounded on N.W.A and the Posse and Straight Outta Compton. Then check out It Takes a Nation Of Millions to Hold Us Back, which came out a month before the latter and try to make the case that this album wasn’t a profound influence and that it didn’t pretty much reinvent rap music, changing it forever making it more musically complex and better in general.

You can’t because it did.

Overseeing this merry band of young, ambitious whippersnappers was super producer Rick Rubin who has a career trajectory that is pretty much unrivaled both in scope and in longevity. Dude produced everyone from Johnny Cash to Eminem, started working in 1982 and show no sign of slowing down today. It Takes a Million isn’t one of his lesser achievements.

Most good hip-hop combines music that sets a mood with a rapper with a unique mic presence and persona. It Takes a Million is no exception. Its storming beats are the perfect environment for Chuck D to land his equally intense vocals onto while Flava Flav rides shotgun. It Takes a Million is via the intro and a couple of skits framed as a live album which it most certainly is not. If however any hip-hop album is so energetic you can pretty much taste the music as it plays, as though it’s being constructed right in front of you, it is this one. The album kicks off with the pumping Bring the Noise and never loses stamina. The album never goes slower than midtempo and does even that only very rarely. The late ’80s were a simpler time for rap artists. “Slow jams for the ladies” were not yet necessary inclusions for Def Jam Records to consider a project for release, let alone weird EDM-rap mutations. In stead the listener is treated to a musical firestorm. You can disagree with these guys’ politics, but even then it would be incredibly difficult to deny the infectiousness of their music. Chuck D’s rhymes about his views on Nation of Islam and opression of blacks, among other subjects, are intense and authorative-sounding throughout.

It’s difficult to choose highlights from this album because it is an integral success and this is one of those albums which one should enjoy in its entirety. Still, personal favourites of yours truly are the rambunctious opener Bring the Noise, the teapot-whistle of Terminator X To the Edge later rebooted on Rebel Without a Pause, the fast-paced funk groove of Caught, Can We Get a Witness? The ’80s-rock tinged closer Party For Your Right to Fight is dope as hell, as are the ominous piano keys of Black Steel in the Hour of Chaos. Even the tracks that aren’t complete songs work: the sax-riff looping instrumental  Show ’em Whatcha Got and the also vocal-less drum break Security Of the First World are sound music making, the latter two later served as the basis for completely different songs by other artists: Rump Shaker by Wrecx-N-Effect and Justify My Love respectively, and many other songs via those tracks getting jacked.

If you haven’t yet heard It takes a Nation of Millions to Hold Us Back I suggest you drop everything and find a way to listen to it ASAP, it’s that good.

Best tracks
Bring the Noise
Terminator X to the Edge of Panic
Black Steel in the Hour of Chaos
Rebel With a Pause
Party For Your Right to Fight

Recommendations
Buy this album.


Various Artists – Uptown Is Kickin’ It

Various Artists
Uptown Is Kickin’ It
1986
Uptown Records/ MCA RecordsUMG
050/100
cover
1. Mr. Big Stuff (Heavy D & the Boyz) // 2. Why Me (Groove B. Chill) // 3. Bass Game (Finesse & Synquis) // 4. Uptown Is Kickin’ It (the Uptown Crew) // 5. I Can’t Stop (The Brothers Black) // 6. He Cuts So Fresh (Marley Marl) // 7. Stress (Woody Rock)

Like N.W.A and the Posse Uptown Is Kickin’ It is both the start of something great and an intrinsically shitty album.
Like N.W.A and the Posse it surrounds a few good acts with a bunch of embarassingly generic acts that wouldn’t be heard from ever again.

The music is alright but extremely dated ‘B-boy’ stuff.
The lyrics performed by what certainly would’ve been referred to at that time as ‘sucker MCs’ range from meh boasting and bragging (I Can’t Stop) to cringeworthily corny to obscene and corny (Why Me which is literally about soiling yourself in front of your father in law, a concept that maybe Biz Markie could’ve gotten away with, and only at that time.)

But hey, at least the Heavy D song sounds good. And him (besides Marley Marl who provides one of those old school DJ Cuts that nobody likes to hear) is the only person on here one should give a fuck about, and coicidentally the only person out of this incarnation of the ‘Uptown Posse’ to have a career. Everyone has to start somewhere.

Best track
Mr. Big Stuff
Uptown Is Kickin’ It

Recommendations
Download Mr. Big Stuff, leave the rest be. Unless you’re an Andre Harrell biographer off course.


Bobby Brown – King of Stage

Bobby Brown
King of Stage
December 11, 1986
MCA RecordsUMG
065/100
Bobby Brown - King of Stage
1. Girlfriend // 2. Girl Next Door // 3. Baby I Wanna Tell You Something // 4. You Ain’t Been Loved Right // 5. King of Stage // 6. Love Obsession // 7. Spending Time // 8. Seventeen // 9. Your Tender Romance

While New Edition was rebooting the Platters and Maurice Starr was rebooting New Edition, Bobby Brown, whose ties with all these people were severed, was busy recording his solo-debut album King of Stage. Most people who followed New Edition would probably have sworn that Ralph, being that he sang all the leads and was arguably the best singer out the group (until Johnny Gill became a member anyway), would be not only the first one to have a solo album but would also become the brightest star. Unfortunately for Tresvant Brown got to do both those things after his bandmates voted him out of the group in late 1985.

Bobby Brown’s solo career is most remembered – when it isn’t completely and unfortunately eclipsed by the memory of all that Bobby-Whitney stuff – for his sophomore album Don’t Be Cruel, which along with debut albums by Keith Sweat and Guy helped popularise new jack swing, an R&B-mutation that combined early hip-hop’s hard-hitting drums and minimal melody with classic soul’s smoothed-out sung vocals (although most New Jack Swing artists also rapped on their own records at the very least every once in a while).

King of Stage is a rap-soul hybrid as well, but a more primitive, less integrated one. And bar the title track nothing on here could remotely be considered hip-hop or strongly hip-hop influenced like his subsequent work. Basically this album’s instrumentals are typical ’80s funk-jams and slow dancers, with one imitation RUN-DMC beat thrown in for good measure, mostly provided by Cameo-frontman Larry Blackmon as well as Isaac Hayes/Isley Brothers/Aretha Franklin songwriter Michael Lovesmith and Boston club DJ John Luongo, over which Bobby mostly sings but busts out the occasional LL Cool J’s I Need Love-esque rap verse too. The resulting album is a lot more funky, ballsy and swaggering than anything NE came up with, as was to be expected since Brown was rather vocal about resenting his (by the time of this album’s release former) group’s bubblegum image and sound, which is one of the reasons he got excommunicated by his mates in the first place. Brown appears to delight in his chance to be a grown up-type of soul singer, which results in a more than halfway decent album that’s a lot more expressive and a lot less gimmicky than what NE ever did. The comparison with Under the Blue Moon is especially beneficial (although that’s as much Under the Blue Moon‘s fault as it is King of Stage‘s merit.)

The appeal of this album is for the most part personality-based. Bobby isn’t the best singer or the best rapper around, nor is a he handed the most memorable set of songs to perform. It’s all in the fairly decent yet somewhat unremarkable zone. But then there’s Bobby’s undeniable natural charm and a boyish buoyance that do work some magic. Bob is a born entertainer. Though a confident performer he also appears to well know the limits of his gruff tenor. The vocalists that appear to inspire him are Rick James and James Brown, and though he’s nowhere near as talented as these two greats he does seem to have learnt the right lessons from them. Like the hardest working man in showbiz he punctuates his songs with the more-than-occasional joyous grunt.

Girlfriend, his first solo-single hit number one on the U.S. R&B charts when it came out and it’s a nice little ’70s inspired love song, complete with saucy sax and it would’ve slipped seamlessly onto either New Edition or All For LoveGirl Next Door is a synthy funk number that shows the Cameo influence while still allowing Bob’s individuality to shine through, and the same can be said for the similarly minded Baby I Wanna Tell You Something. On the title track Bob rhymes about over a Jam Master Jay-aping beat that appears to incorporate a James Brown vocal sample (Since this was released before the sample wars nobody is credited so one can never be sure.) Bouncy up-tempo cuts like Love Obsession and Your Tender Romance summon the mental image of Axel Foley driving his convertible through LA, and whether that works as a good thing you can make out for yourself.

Obvious missteps are Seventeen, a misguided stab social commentary on a girl getting off track and pregnant and on sex and drugs. It doesn’t only sound ridiculous and hypocritical coming from Bob, knowing that soon enough he himself would be off track and on drugs, but it also isn’t a very good song that tries to accomplish drama through crappy ’80s synths (Yes I am aware King of Stage was recorded in the ’80s), and the fairly boring ballad Spending Time that has Bob trying to breathe life into it with all his might, but accomplishing little but showing the limits of his vocal range.  As a whole however King of Stage works more often than it doesn’t.

Kudos to the people at MCA for having the sense to keep this album brief at nine songs and including mostly good ones to boot. Bobby’s debut is a pretty decent attempt at establishing a career and a musical identity outside of NE with songs such as King of Stage and Your Tender Romance, while still catering to the audience of his former group with Girlfriend and Girl Next Door. It may not have been the massive breakthrough hit he wanted, but it was succesful enough for the record label to let him record another album. And record another album he did, but we’ll get to that when we get to that.

Best tracks
Girlfriend
Girl Next Door
King of Stage
Your Tender Romance

Recommendations
If you’re into ’80s R&B that may not be very substantial but does pack a punch, and you happen to come across this for a reasonable price a purchase may be in order.


Public Enemy – Yo! Bum Rush the Show

Public Enemy
Yo! Bum Rush the Show
April 1, 1987
Def Jam RecordingsColumbia RecordsSME
080/100
Public Enemy - Yo! Bum Rush the Show
1. You’re Gonna Get Yours // 2. Sophisticated Bitch // 3. Miuzi Weighs a Ton // 4. Time Bomb // 5. Too Much Posse // 6. Rightstarter // 7. Public Enemy No. 1 // 8. M.P.E. // 9. Yo! Bum Rush the Show // 10. Raise the Roof // 11. Megablast // 12. Terminator X Speaks With His Hands

While N.W.A was just starting take off in L.A. with their profane, violent lyrics about raising hell in Compton and South Central L.A. over Dre and Yella’s phoncky beats something else was brewing on the East-Coast of the USA.

Indeed Public Enemy largely bypassed the gangsta shit or rhyming about street life, selling drugs and fucking bitches, in stead they decided to rhyme about politics, the African-American community and the American media and all sorts of things much more serious and less hilariously graphic than their West-Coast contemporaries did, while their at-the-time Def Jam-assigned producer Rick Rubin, as well as PE’s own production team the Bomb Squad, couldn’t be bothered by Cali’s rather literal funk, and channels a somewhat more rock-tinged sound for Chuck D to rap over while Flava Flav props him up alongside him, eventually doing as much for “conscious hip-hop” as N.W.A did for gangsta rap.
For a group known as militant and political this debut sure is tame. It would seem that PE didn’t quite get political from the get-go since subject-wise they mostly tackle the same B-boy subjects that Run and Daryl were known for rapping about, nor did they set the world on fire with this album, since I cannot find an indication that Yo! Bum Rush the Show did platinum, or even gold numbers, or scored any big hits (back when record sales and radio were an actual indication of how many people actually were reached by a record).

As uncompromising as N.W.A was in their sound and lyrical content on Straight Outta Compton, they at the very least had prevalent sense of fun on some of the songs off their debut.  Songs like 8ball [Remix] or If It Ain’t Ruff may not have stood a ghost of a chance of getting played on the radio, but their sense of mischief and money maker-moving production paired with only made them extra suitable for fraternity parties.
Yo! Bum Rush the Show, because of being more acceptable to mom and dad’s ears and because of containing only one James Brown-sample, offers no such rebellious party function, which is probably why Yo! Bum Rush the Show didn’t go platinum on word of mouth, while Straight Outta Compton did.

Besides, few tracks go very far in expressing many of the profound but controversial beliefs PE is known for having (the dissing of gold digger-bitches on Sophisticated Bitch, the acquiring of a car on You’re Gonna Get Yours, the advise not to smoke crack on Megablast and the dismissal of sucker MCs on Public Enemy No. 1 are about the extent of the proceedings content-wise.)
The exception is Timebomb, which casually namedrops Kareem Abdul Jamar and adresses Apartheid and teen pregnancies among other similar subjects and Rightstarted (Message to a Black Man) which attempts to remind the black community of slavery and reasons about a link between high criminality rates among Afro-Americans and the white man holding the black man down. This is where the seeds of their 1988 breakthrough album It Takes a Nation of Millions to Hold Us Back were sown.

Subject matter-wise Yo! Bum Rush the Show is varied enough to be consistently entertaining, with lots of old school-minded bragging, boasting and critiquing, as well as hints of social consciousness.
Technique alone elevates PE over the likes of RUN-DMC or the Sugar Hill Gang, who mostly rapped about the exact same subject matter, but never elaborately broke down any of these subjects the way Chuck D does, both content-wise and flow wise.
The beats are pretty fresh too. You’re Gonna Get Yours, an ode to Chuck’s beloved automobile has the kind of instrumental that would be equally well suited to score an ’80s race movie, with it’s jingling guitar, it’s booming bass and the scratching being substituted by car noises.
Sophisticated Bitch pairs rock guitars with hip-hop beats and takes one back to a time before soul and R&B were the obvious source material for hip-hop producers to sample.
Timebomb is the funkiest thing on here, which helps Chuck’s message go down and helps make the tone of the song activist rather than preachy.
Public Enemy Number One is the kind of propelling, minimal instrumental that manages to be both old school and timeless at the same time and makes anyone who rhymes over it sound good. (Even P. Daddy, when he jacked the beat wholesale for his song of the same name on his 1999 album Forever. A collection of songs with beats you’ve heard before elsewhere, better.)

Yo! Bum Rush the Show is a prime example hip-hop’s late ’80s coming of age. Chuck D (along with the likes of Big Daddy Kane, Rakim, N.W.A, the D.O.C., Ice-T and Schooly D) was one of the first to realise the genre’s potential lyrical complexity, all while, at the very least on this album, maintaining the old school sounds and mentality of those who came before him (RUN-D.M.C., LL Cool J, Sugarhill Gang). As such this is one of those albums every hip-hop historian should own, and an overlooked one at that. But since besides revolutionary and influential this is entertaining as hell from a music standpoint as well, fans of other musical genres that aren’t necessarily into hip-hop, should take this for a spin too.
You’ll rarely find an MC more authoritative-sounding than Chuck D and you will definitely never find a hypeman more engaging than Flava Flav. And with the Bomb Squad banging the beats and the legendary rock-producer Rick Rubin lending them a hand and overseeing this album’s creation you know what’s up.

Best tracks
You’re Gonna Get Yours
Public Enemy No. 1
Time Bomb

Recommendations
Pick this one up.


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.