640 lines
28 KiB
Plaintext
640 lines
28 KiB
Plaintext
Section 1 -- One
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HardC.O.R.E. Vol. 1, Issue 6 4/22/93
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Table of Contents
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Section Contents Author
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---- -------- ------
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1 Contents
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2 Da 411 -
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3 Letter - To eMpTV juonsteve@bvc.edu
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4 Article - Atlanta Hip-Hop Martay the Hip-Hop Wiz
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5 Review - Who's the Man? juonsteve@bvc.edu
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6 Review - L.O.T.U.G. mc78+@andrew.cmu.edu
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7 Review - Common Sense Martay the Hip-Hop Wiz
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8 Lyrics - Roll Wit the Flava Flavor Unit MCs
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9 Review - Three Times Dope Janne.Potila@otol.fi
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10 Closing - A little reminder
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Section 2 -- Two
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The C.O.R.E. creed
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We at C.O.R.E. support underground hip-hop (none of that crossover bullshucks).
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That means we also support the 1st Amendment and the right to uncensored music.
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I'm audi 5 to my doghouse!
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"I got more rhymes than Madonna gets dick"
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KRS-One : I Get Wrecked
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Asalaam Alaikum from MC Flash X
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Section 3 - Three
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Stanhope, Iowa
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May 1, 1993
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Music TeleVision
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1775 Broadway
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New York, NY 10019
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(212)-713-6400
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Dear Sir or Madam:
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I am writing to express my concern with the actions taken recently
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by your channel. At this time I would remind you that MTV claims
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to have made rap music national, and that MTV is invaluable to the
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hip-hop nation. But I would like to show you the hypocrisy of
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these statements. On several fundamental levels, you have failed
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in these regards; furthermore, your station could be accused of
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racial discrimination. These are not foundless claims; I have the
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documentation to back it up.
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I would first like to cite as an example the time scheduling of Yo!
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MTV Raps. Within the past year it has changed more than three
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times, leaving many viewers confused. It was moved from a popular
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afternoon scheduling where it pulled large ratings to late at
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nights. Then, when Yo! MTV Raps core audience (25 and under) was
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unable to watch the show at its new time, the show pulled less
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ratings. When the ratings dropped, you had an excuse to cut back
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the hours of the show from more than seven a week to just two.
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These actions as a whole are inexcusable and have convinced the
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hip-hop nation at large that you intend to kill Yo! MTV Raps
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despite its popularity.
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Secondly, I would bring attention to your policies of censorship of
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music videos. As an example I would cite the top 15 countdown of
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Yo! MTV Raps from the weekend of July 4, 1992. In the video for
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House of Pain, a white group, they were allowed to refer to a
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"punk-bitch" and to say "I never eat a pig because a pig is a
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cop." These statements would normally cause massive criticism and
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perhaps even cause the video to be pulled, but several weeks later
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"Jump Around" was the number one video. Yet the group Das EFX,
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whose single "They Want EFX" had already gone gold, could not even
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say "blunt" in their video, nor could Del the Funkee Homosapien say
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"chronic" in "Dr. Bombay". I understand if you don't wish to
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promote the use of marijuana, but if this is your policy, why have
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you done nothing about the Black Crowes? It boils down to this...
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white groups and rock groups have clout, and black hip-hop gets no
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respect.
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So, on behalf of the Committee of Rap Excellence, the alt.rap
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bulletin board, and the hip-hop nation at large, I state our formal
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Declaration of War with Music TeleVision, which we refer to as
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eMpTV. Until your policies change, it will continue you to be
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eMpTV, and we will do our best to make everyone aware of the fact.
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If you think the 'Cop Killer' protest was large, you ain't seen
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nothin' yet.
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Very sincerely,
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Steve Juon
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Founder of C.O.R.E.
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2209 350th Street
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Stanhope, IA 50246
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Section 4 -- Four
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by Martin Kelley
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The Scene: Atlanta
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Here we go with a brief introduction to the Atlanta Hip-Hop/Rap scene. Right
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now Atlanta is enjoying a growing reputation for music of all types, a
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reputation that is long overdue seeing as the South is where almost all music
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innovators in America have emerged with the exception of hip-Hop (unless you
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count James Brown as a Hip-Hop artist).
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How did Rap start in Atlanta? That's a tough one even for me the Hip-Hop WIz
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to answer as I was living in New Jersey when I was first introduced to Hip-Hop.
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However, I believe that it's safe to say that a few isolated old-school songs
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dipped onto the scene in Atlanta and inspired some young artists to get down
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with the underground sound. Some of the Atlanta rappers wereThe Duice of Juice
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"House Rock Tremble", MC Shy-D "Rap Will Never Die", and soon after came Raheem
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the Dream "Raheem the Dream".
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At that point, Atlant was not known for much of anything in the world of
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Hip-Hop. In fact, SPIN magazine once had a feature called the Hip-Hop Map
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which basically stated that Atlanta wasn't about jack. The most infuriating
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thing about the article/diagram was that Luther Campbell was quoted in the
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small inset that represented Atlanta information, as if Luke has a right to
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speak for Atlanta from his offices in Miami. However, very soon after that
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Atlanta started to slowly make headway. Success-N-Effect, Silk times Leather,
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and others started showing up on BET and in records stores across the country.
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Then came the unbelievable successes of Kris Kross, Arrested Development, and
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TLC all at the same time. This brought the spotlight to the Atlanta hip-hop
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scene. What will become of the Scene remains a mystery: will the underground
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artists emerge, or will the bass-boy wannabe gangsters like Kilo, Duice, and
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A-town Posse deine Atlanta for the next SPIN Hip-HOp Map. I hope you know who
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I'm rooting for. Peace to the Underground!
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Roll Call: Tribal Science, Smooth Stylists, Da King and I, Y'all So Stupid,
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Too Krazy, Jena See Qua, Reverse, ADW, AWOL, Javier and the Str8Jackets,
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Reignof Terror, K-I-N, 100 Monkeys, Spidah, BLK, Dr. Stupid's Toybox, Gumbo,
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HQH Posse, and Me.
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Martay
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the Hip-Hop Wiz
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p.s. More to Come
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"You ain't Know?"
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Section 5 -- Five
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Review - Who's the Man? : Soundtrack
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By MC Flash X
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Review scale :
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6. Phat - Ten years from now this shit'll still be so dope!
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5. Funky - Ownership is the difference between a mack and a mark
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4. Fine - If your pockets are fat get it, but don't panic if you don't
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3. Fair - It has some potential hits, and at least it doesn't stink
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2. Flat - Somebody explain to me why this person even tried?!
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1. Flunk - The ultimate diss... PM Dawn sounded better
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Beatz : Many songs sound like 'Funky', but mostly they are 'Fine'.
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Lyrics: Some degree of explicitness, but (except for Party and
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Bullshit) parents could tolerate it. The lyrical flow is in
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effect on nearly every hip-hop song... no loose ends there.
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Rating: Another tape that falls between ratings, but I will take the
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higher end and call it 'Funky'. Opinion will vary greatly on
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this mixed bag of hip-hop, r&b, and reggae.
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Side One:
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Party and Bullshit BIG
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Let's go Through the Motions Jodeci
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What's Next on the Menu? Pete Rock and CL Smooth
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You Don't Have to Worry Mary J. Blige
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Hittin Switches Erick Sermon
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Madness Heavy D and Buju Banton
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Side Two:
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Who's the Man? House of Pain
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Lovin' You Crystal J. Johnson
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Pimp or Die Father MC
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Hello, It's Me Spark 950 and Timbo King
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Ease Up 3rd Eye and the Group Home
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I'm going to try a new style this time. I will rate each song and say what I
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liked or didn't like about it instead of quoting lyrics. Let me all know what
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ya think.
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Party and Bullshit - Funky
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BIG has gotten wreck in Unsigned Hype, had a slammin cameo on Heavy D's "A
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Buncha Niggaz", and now proceeds to catch wreck all on his own. This songs has
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the track goin on, and BIG rips his deeper-toned Heavy-Dish gangsta flow quite
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nicely. Definetly a man to watch out for.
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Let's Go Through the Motions - Fine
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I'm not normally one for R&B cuts, but this one is OK. The track sounds like a
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diced up sample of the 'Punks' beat, and the drums are snappy, not sappy like
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most R and BS. Not a FF song!
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What's Next on the Menu? - Phat
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Can I help it? I love these guys! Pete Rock proves that less can be more,
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with a track that went on a diet and came out fatter! And you can't even sleep
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on the lyrics... forgive me if I quote for a minute...
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"Got I rhyme so chunky it's amazing G
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I Make you think the Fat Boys are back on crazy...
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I want a salary Moriah couldn't Carey"
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CL is the lyrical heavyweight! This track is pure butter!
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You Don't Have to Worry - Fair
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I don't know why, but this track has no juice. Mary J. is my homegirl and all
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that, but it sounds like the track that was leftover from "What's the 411",
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with good reason. Nuff said.
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Hittin' Switches - Fine
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OK I like it, and the "Off an on off and on it's on" chorus is hype. But every
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verse I keep wondering, where is Parrish Smith? I'm sorry, to me these guys
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will always be a group, and Erick just DOES NOT SOUND RIGHT BY HIMSELF!!!!
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Hotness - Funky
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It helps that I have been gettin into reggae lately, so this song hit me at
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just the right time. They do some really strange but funky double layering to
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Heavy D's voice, and Buju Banton rips the track up. This one is gonna hit hard
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in the dancehalls and the hip-hop spots.
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Who's the Man - Fine
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Biting Dr. Dre's already (better) used sample does nothing for originality, but
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the lyrics are OK, and the tracks is kinda smooth. House of Pain fans will dig
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it, but if you didn't already like em you may skip this one.
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Lovin' You - Fair
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Just one more diva wannabe. Need I say more?
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Pimp Or Die - Fine
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Perhaps the reason it doesn't quite work for me is that to me, Father MC is not
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a gangsta. But he still flows well, and once again, the chorus will have you
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hooked "What's the law? Pimp or die!". Kinda flava!
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Hello It's Me - Fair
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This track is just pretty average. Pretty average hip-hop artist, pretty
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average reggae artist, and the song is not that exciting.
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Ease Up - Funky
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Two verses is not enough! Damn! 3rd Eye comes off hard! The Uptown posse is
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gonna be runnin shit correct in '93, no doubt about it!
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As you can see this album never really dips below Fair, and some tracks are
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truly slamming. You aren't gonna be dissapointed by having this Soundtrack in
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your collection. Pick it up, pick it up, pick it up!
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Section 6 -- Six
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Review -- Lords of the Underground
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by the Mack......
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Lords Of the Underground
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"Here Comes the Lords"
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check it--3 stars out of 5
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Now before yall get all down on Marley Marl for doin the similar beats
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and styles, you should know that K-Def produces about half of the tracks
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on this solid debut. Marley Marl cuts are distinctive --check out
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"GraveDigga" and "Funky Child." "Grave Digga" gots some deep creep bass
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with some funky organs sprinkled over the top and comes off phat.
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You've heard "Funky Child" which is as close to hype as you can get
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lately. Anyway, the point is, K-Def product is the average sections of
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the LP. Formula: rolling bassline, phat beat, some scattered horns,
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and some sort of chant for the chorus. Songs like "From da Bricks,"
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"Chief Rocka," and "What's Going On," all have the same style, same
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everything. But its still smooth to listen to because they do have some
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distinctiveness, as far as lyrics and subtle basslines go.
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Tracks to check out:
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"Lord Jazz Hit Me One Time (Make it Funky)," a classic style pure DJ
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selection in which DJ Lord Jazz flexes some mad wax skills while giving
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the mic a try. Cool style.
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"Flow on and on (new symphony)" smoothest track on the LP, but with a
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kick beat. Some crazy styles and some old school lyrics combine for a
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solid effort.
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"Funky Child," Massive large huge, etc...you've heard it.
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"Grave Digga," mentioned above, gots an edge to it that makes it come
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off. It's about people digging their own graves.
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"Mad Skillz," this cut is exactly what it says it is, Doitall and Mr.
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Funky go flexin..
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That's about it. Like I said, K-Def's got to learn to vary his
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production style a whole lot more. This is a good album to get a dub
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off of someone to keep for the car....
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Section 7 -- Seven
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Review -- Common Sense
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"Can I Borrow a Dollar?"
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*Heidi Ho produced by the Beatnuts
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All lyrics written by Common Sense
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Common Sense is gettin' slept on seriously. He collects much props on the
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inside of Hip-Hop (the Pharcyde among others). Also, Common Sense is a former
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member of the Source's unsigned hype club. He is starting to get a little more
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notice with his secong single "Breaker 1/9" that features a nice little remix
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by the Beatnuts.
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The thing that impresses me most about Common Sense is his abstracts "Insert
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crazy similies whenever and wherever I can" style as well as his vocal range
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(he can screech with the likes of Biz Markie). These two factors add up to mad
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flavor from Chicago (home of hip-house and Tung-Twista).
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First I'll go over what I don't like about this LP. The best song on the album
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is his first single "Take it EZ", this is always a pet peeve of mine because
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there doesn't seem to me to be a point in buying an album if the rest of the
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material doesn't measure up to the first single (the rest of the stuff is good
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no doubt, but if you weren't very impressed with "Take it EZ" then you may want
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to preview the LP first). Another thing that might turn people off is his
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style. By that I mean that if you like continuity in your rap songs you might
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not find much of it here, as Com jumps from simile to simile and sometimes
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loses the central theme if there even is one. So if you like clean structured
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Essay-type raps then for you Common might not make Sense. There is a lot of
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female bashing on the album, not as harsh as your average gangster but
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nevertheless it is there, which is usually a turn-off for me but coming from
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Com it's more bearable than most. And finally, white rap fans and artists
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(especially the alt.rap group) may not appreciate this slight diss that appears
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on the album "..When we was on the streets, you was at home on your
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computer..."
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The beats and samples you've heard before or even later (like the Hip-Hop
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Hooray beat which Com used before Naughty), even one that an artist from my
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posse East Coast Tribe used last year. However, Common Sense uses these beats
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very well and his versatility helps him get over. He can roll-it-up, sing
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along, and even use a touch of raggamuffin. I like how he uses old school
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chants and I have a weakness for rappers who use movie lines and titles.
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As for guests, Immenslope (tha producer) appears on "Two Scoops of Raisins" and
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he basically sounds like Common Sense-lite. While Rayshell, the female rapper
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on "Tricks up my Sleever" sounds a lot like Tarrie B. and I was wonderin' if
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its possible that she's tryin' to make a comeback with a new style a la her
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ex-boyfriend Everlast (I doubt it though, Rayshell probably just sounds
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similar).
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Anyway down to the point of this review, Common Sense is pretty dope with his
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own distinct styke (somethin' which is far too uncommon these days) and he
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deserves some props and at least a preview so go check it. I'm out like a
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Dragon Stout in Red Baron's Mouth. I haven't written for publications in a
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long while so forgive my rustiness, I'll try to get better as I go assuming
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they allow me to do more articles. Peace and Love.
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Martay
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the hip-hop wiz
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Section 8 -- Eight
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Lyrics- Flavor Unit - "Roll Wit the Flava"
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(I had trouble with the first two verses, so any corrections would be
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very much appreciated. Hope y'all like it!)
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Verse One : Treach
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Once again, it's on
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Cause where I'm from there ain't no picket fences pickin' straight and rock
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so you pick it my sticky finger was a glock
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Many dashed from the fat cat but I like to cap for laughs
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So I rap till my ass will laugh
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I'm never trouble but if troops will come and jam me
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You Remind Me like Mary then I'm scaring your little projects
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On the prarie I'm hairy and hot like Dougie with a smokie
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So I boo-boo, just like Fu-Schnicks I'll say F-U-2
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Verse Two : Chip-Fu
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A-bibbedy-bibbedy-bibbedy-bibbedy-bong-gang ultra-king
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But BBD boxing up yang, giddy-up
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Didduh-duh, didduh-duh, didduh-dum dum dum
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I'm coming again and again a Ku-Fu vomit
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Gosh, darn it! Like we're lyin' to bits
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The John-John shaker lyrical shaker
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Yes and doin some heimers-lichs
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I sings my lyrical style from Flatbush
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Quick to Greenwich, Finnish
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I'm strong to the finish
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When I eats, me spinach
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I'm one of the lyrical flava
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My nigga Foxx is stompin fast
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Check my dum-dum-dum-dum-dum and step
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Verse Three : Freddie Foxx
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Now I been breakin rappers down for a while now
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Now it's time to break, child
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Rappers get chopped like the head on a fat cow
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I'm mister micraphone, rappers can't fuck around
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I'm Freddie the Foxx I'll brake it back and buck em buck em down
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You know my rep I got a record like the turnpikes
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When I was young they use to call me Freddie-burn-mics
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But now they call me big Foxx, daddy boot-knocks
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With burn marks on my hips from my twin glocks
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Chorus
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(Queen Latifah) I got flava for days \
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(KRS-One) Flava unit has a title > Repeats four times
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Roll With the Flava /
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Verse Four : Queen Latifah
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Now it's about the time to put you out of sight and out of mind
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I got the skills to blast you off the mic and out of rhymes
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Now who the hell-am-I-a?, the L-A-T-I-F-A-H the motherfuckin sire
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I come in on time
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You wear a silly grin we like we do when niggaz in
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We gotta practice so slap the hands off your chinny-chin-chin
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The Flava Unit's got my back, so I'm quick to start shit
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Get the short end of a bat, cause we beat him broken sticks
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Verse Five : Heavy D
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I-guy-guy-guy-guy-guy bet you never knew
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That I could flow I flew I grow I grew
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I blew up the spot, I'm sippin my props
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And now I am just passin brew
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Ruff rugged rigid nigga, the one who's quick to figure
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Some think they're big, but the heavster is bigger
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The funky flip-flop flava unit, my hip-hop neigbor doin it
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Came to the studio, check my flow, and ran right through it
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I bet you thought I wouldn't come, I came
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I'm never done till I'm done rippin drums like a shotgun, ohh!
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Chorus
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Verse Six : D-Nice
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Now ladies, what's my name? (aaah)
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That means it's time to go
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I'm the same muuuhfucker from it's time to flow, so
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Some might have dissed the way I flow it out
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Niggaz need to throw it out
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Simply cause it's somethin you don't know about
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So watch the Nice man shake the ground
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And now I'm Rollin with the Flava cause
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The Flava's what I'm rollin in my sound
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To make you get down, rippin the sound from Jaycee to Uptown
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Now
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Verse Seven : Dres
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Now if you got a nine, and you got a nine
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And you got a nine, and you got a nine
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And he got a nine, and she got a nine
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Well it's a motherflockin party yo cause I got mine
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So bust it the Black Sheep are (where?) here (where)
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Here (where) there, everywhere there's a jeep
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There's a Sheep sheep beatin up the air
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Graphic as illustratin frustratin like waitin
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The Sheep are a joke? Nigga you playin
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Yo I drink twenty forties, smoke forty blunts
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Say a hundred rhymes and not sound like you once
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Twice, three times, nigga never figured
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You'd be triggered by Dres, that R and B smokin nigga
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Doin it, screwin it, chewin it, well
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Done on the weak bun hon can't you tell
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Unification cells on the flava flingin
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If a Queen has the balls my Lady is a King
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So long live the King, and love to my unit
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Spoon it and you'll croon it, diss it, and yo balloon it
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Chorus
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Section 9 -- Nine
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OLDIE REVIEW
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""""""""""""
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Three Times Dope: Live From Acknickulous Land
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AL-8615 (1990 Arista Records, Inc.)
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3xD:
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"""
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EST - The Lyrical Father
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DJ Woody Wood - The Fly Assassin On The Fader
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Chuck Nice - Da Producer Extraordinaire
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Production:
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""""""""""
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Produced by Chuck Nice for Peace Ya'Self Productions
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*Produced by LaVaba, Keith Spencer & Dale Hogan for Tabla Productions, Inc.
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+Co-Produced by Moses "Jr.Splinters" Worrell
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Side 1 Side 2
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"""""" """"""
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The Return Home - Intro-Mission 10 Lil' Sucka Emceez
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Mr. Sandman *Make Dat Move
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Mellow But Smooth* I Ain't Try'n 2 Hear It
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Weak At The Knees +Peace Ya'Self
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No Words I Got It
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Make Ya $ Do U Wanna C It
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In Effect Live!!! From Acknickulous Land
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Like the name of it already tells, the first track is only some kind of
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|
intro. It leads the listener to one of the greatest hip hop records ever
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made (at least in my books).
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"Mr. Sandman" is one of my favourites. To be honest, it even seems to
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|
have made its way into the best individual rap pieces in my collection.
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|
A magical synthesizer line starting this is simple but very good. After
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|
few cycles of it and a couple of yawns (listening to this definitely don't
|
|
make me yawn) the drums start to beat in full effect along with some
|
|
excellent rapping and BUMMMM: _that_is_something_. I would consider this
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|
a perfect lazy-style rap. In spite of the name, using the track as a
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|
lullaby is just impossible. How could one go asleep listening to it. I
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|
imagine even mummies would snap their fingers along the beat.
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|
"Mellow But Smooth" could be the lullaby. This IS very mellow and won't
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|
hit me very hard after "Sandman". Style is a little 'crossoverish'. Larry
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|
Lar visits here.
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|
Next to come is the funkiest track of the LP. "Weak At The Knees" has
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|
very funky beat with nice drums and guitar picking. Some parts of this
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one is not rapped but sung rather. A good tune. Talking about live
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|
instruments, in record cover there is a list of players for guitar (Mike
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Tyler), drums (Andy Kravitz), etc. Doug Grisby is said to play bass, but
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|
only on this particular track. Thus, those brilliant basslines in some
|
|
songs later must be sampled or played with synthesizer. No, I'm the last
|
|
one to say it's wrong to use computers on music. In my opinion, though,
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|
for example real drums sound usually much better. At least in this album.
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|
"No Words" has a beat that doesn't compare with some other ones here.
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|
Backgrounds and rap are OK but not all of it. If I had to listen to this
|
|
a lot, it _might_ bore me. I would call this standard material.
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|
Two tracks left in side one. I mentioned basslines earlier, meaning these
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|
two. Especially "In Effect" has a very good one leaving "Make Ya $" a few
|
|
inches behind. Both of these are dope pieces of work. In "In Effect" there
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|
is this chorus-type-of-thing that I in particular do like. First comes a
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|
tasty sample of some wind instrument (sax, I assume) and after that the
|
|
voice saying those letters E-F-F-E-C-T. Someone could love these two beats
|
|
on the dance floor. In general, I think 3xD's albums contain a little more
|
|
'dancable' songs than other rap artists have on their records. This holds
|
|
true with both their first and second LP. Well, the guys are Audi 5000
|
|
and it's time to flip the vinyl.
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|
|
|
B-side wins again could a person say and I agree. Although the start isn't
|
|
best possible. "10 Lil' Sucka Emceez" is a modified version of some
|
|
nursery rhyme. At least I think it is. The piece is not bad at all, but
|
|
the chorus lowers level a bit, still leaving LL's later effort with big
|
|
bad wolf miles away (behind). Larry Lar is also here.
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|
|
|
"Make Dat Move" is a standard rap too, in my books. The groove is better
|
|
than in for example "No Words". While listening to this I thought my LP
|
|
|
|
had become overplayed cause I clearly heard some 'unwanted noise'. After
|
|
more careful listen I found the rasping sound coming from a sample used
|
|
here. Nice little point.
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|
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|
If the party isn't already on, it will start along with "I Ain't Try'n 2
|
|
Hear It". Here comes the second highlight of the album. Just a glorious
|
|
song. Actually, the second highlight will continue four tracks from here.
|
|
This one has a catchy guitar riff and a terrific background. Wood's
|
|
scratching is just like it is meant to be. While listening, it becomes
|
|
clear to me that Chuck Nice is doing better production work alone than
|
|
Lawrence Goodman and he did in "Original Stylin'". I had this one recorded
|
|
on a tape (from radio) before I bought the whole LP. So, in the beginning
|
|
when I wasn't used to other brilliant tracks in it, I thought this was the
|
|
best.
|
|
|
|
"Peace Ya'Self" also has sung chorus which, though, doesn't dim the shine
|
|
of this one. So far I have not taken a stance on the lyrics in this LP.
|
|
Here I make an exception. Chorus goes: "Peace in the world today, and in a
|
|
hurry". Naive or not but yet true. If everyone just realized this......
|
|
"We need less dissin', more huggin' and kissin'" states EST hitting the
|
|
nail on the head. Whole song is great containing a few cuts from 3xD's
|
|
first album in the beginning of it.
|
|
|
|
And again we got a masterpiece here. "I Got It" has excellent background
|
|
and marvelous rapping. By now, I _know_ EST is one of the greatest rapper
|
|
on the scene. The whole LP proves it to be true. In this one, James Brown
|
|
claims to got soul and no one on the face of earth is able to contradict
|
|
with Mr.Dynamite. And if those mummies mentioned earlier missed everything
|
|
before this one, at least now they are really starting to get the rhythm.
|
|
|
|
"Do You Wanna C It" makes them move even more wildly. The flow of diamonds
|
|
seems not to end at all in this record. Simply very good bassline again
|
|
and Tyler's guitar hits me also. Rap is like everywhere in the record just
|
|
wonderful. A short sample of Sade's "Sweetest Taboo" in the middle is
|
|
speeded up a little to match the beat. Nice work with that. I love this
|
|
one like those three before it. I have noticed that it is rare that a rap
|
|
album contains this many great tracks in a row. Usually a few good ones
|
|
but the album as a whole not so good (for example Cube's first). That is
|
|
the reason why I decided to review this precise record.
|
|
|
|
"Live From Acknickulous Land" finally completes the record. After four
|
|
previous pieces, I'm not going to say anything special about this. That
|
|
does not, under any circumstances, mean that it is no good. Vice versa.
|
|
If I only knew what the word 'acknickulous' does mean?
|
|
|
|
Time to sum it up. Like you have noticed, I have been praising the LP
|
|
pretty torrently. I'm not going to give any specific ranks to music and
|
|
lyrics. Just overall mark which is, with no hesitation, a full 6 out of 6.
|
|
After now spinning 3xD a lot on my turntable (because of review), I raise
|
|
this straight to the top of my rap albums. That drops PE's second LP to
|
|
number 2 spot. (Let it be known that my rap collection only has about 40
|
|
records not containing the latest albums of 1992-93.)
|
|
|
|
OK, that's it. Hope you liked it. I'm backin' left.
|
|
|
|
Pode
|
|
|
|
|
|
Section 10 -- Ten
|
|
|
|
Closing
|
|
|
|
This is just a little reminder. I would like to see everybody in C.O.R.E. at
|
|
least drop the 0.29 to mail the letter to MTV, with your name attached in place
|
|
of mine. And if you can spare it, mail it to your local media too. Thanks,
|
|
and I'm audi!
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|