Mac Miller - Watching Movies with the Sound Off

Released: June 18, 2013

This week marks a whole 5 years since artist Mac Miller released his sophomore album. How does it still hold up in 2018?

June 18, 2013. It was a pretty packed day for hip-hop 5 years ago. Kanye West was planning to release his sixth album Yeezus on that day. J. Cole decided to push his release date for Born Sinner forward from June 25 to the 18th. And Mac Miller dropped his second album on that day as well. Quasimoto & Statik Selektah happened to have some overlooked releases, and while their projects were amazing, we can save that talk for another time.

When the Pittsburgh rapper Mac Miller broke out in 2010, his music was known to be very laidback and chill. To me, it sounded like white college boy music and I didn't enjoy most of his work from then, apart from "Of the Soul" and "Nikes on My Feet". Other than that, it just didn't appeal to me. It was in 2012, after the release of his debut album, when Mac's sound took a slight turn with his mixtape Macadelic, featuring a more psychedelic and spacey vibe. Mac started to deal with depression and drug addiction, after criticism regarding his debut and struggling with fame. This helped to influence the sound of his next few projects. Watching Movies with the Sound Off was one of them.

Watching Movies with the Sound Off came out at a very dark time in Mac's career, ending up being his most introspective, serious and personal effort in his discography, along with his 2014 mixtape Faces. The 16-track effort showed a major shift in sound compared to the turn in Macadelic, tackling with issues such as depression, drug use and lost friends & relatives, incorporating psychedelic and alternative music elements, and even singing a little more in a few tracks on the album (Mac would later release The Divine Feminine in 2016, featuring slightly more singing than rapping throughout the album). In my opinion, I thought this album was the best out of the bunch released on that day. Born Sinner is decent, Yeezus was trash; however, Quasimoto delivered with his album and Statik Selektah's album was a great compilation of amazing talent. But this just took the cake with the sound and vibes throughout the album.

Mac Miller sounds a lot more mature on Watching Movies with the Sound Off, stepping up his game lyrically and sonically. The album starts off with "The Star Room", which sets up the depressing and psychedelic mood throughout the project. With Earl Sweatshirt providing production (under the alias randomblackdude), Mac happens to take us on a journey through his life, touching on his current state of mind and dealing with criticism. A new alter ego from Mac was also introduced as a feature on this song, named Delusional Thomas, who has a more dark tone in comparison to Mac himself, having a big horrorcore influence in his content. Mac uses this ego more as a subconscious on this cut, digging deep into how he feels; starting off with “Hallelujah, thank God I have a future/Praying I don’t waste it gettin’ faded /Cause I’m smoking [bleep], till I’m coughing up tar.” Mac also brings out his production side Larry Fisherman on a few tracks on the album. "Avian" is one of my favourite songs on the album, with Mac himself handling the ambient production. Its name deriving from his love for nature and wildlife documentaries, Mac kills his verses with a nice monotone but intriguing flow and impressive wordplay.

Some of the best songs on this album are the ambient, serious ones where Mac gets a little introspective and personal on us. "I Am Who Am (Killin' Time)" is the best song on the album, hands down! With a beautiful beat provided by AdotheGod, Mac touches on his struggles with drugs and depression, and mentions the criticism he has received overtime; while Niki Randa delivers vocals for a nice hook. "Objects in the Mirror" is primarily singing, where, over some excellent Pharrell production, Mac uses an extended love imagery of a female to personify his addictions such as drugs and music. "Somebody Like You" is another one of the memorable moments on the album, embodying juxtaposed messages, such as death, being motivated, reflecting on his career and drug addiction.

The features and production are something so immaculate. The line up for features are small but they still do their thing. Action Bronson murdered his verse over "Red Dot Music", which also is my favourite beat on the album, thanks to the one and only Alchemist. Earl Sweatshirt provides a little hook for "I'm Not Real", which features an ambient and alternative vibe with the instrumental. "S.D.S" and "Watching Movies" are some of the more upbeat songs, with "S.D.S." featuring some wavey production from Flying Lotus. "Watching Movies" is one of those songs you can easily bang in the whip, and shoutout SAP on the beat. Ab-Soul jumps on "Matches", where both he & Mac share verses over a banging beat. Soul spins the hell outta Mac on this song, but Mac still did a decent job with his verse. "Gees" features ScHoolboy Q, and is another upbeat cut, with Chuck Inglish on the boards providing a nice beat. Mac did his thing but Q absolutely killed it, with his bars and delivery. Can't forget Jay Electronica, who delivers an uncredited verse on "Suplexes Inside of Complexes and Duplexes", he came through on that, plus the beat is pretty interesting.

With 16 tracks and a great lineup of features and production, Watching Movies with the Sound Off features Mac Miller at his best musically, going very personal and introspective on listeners as he deals with drug use and depression. And five years later, it still remains the best album of the bunch released on June 18, with good replay value and hardly any filler. Mac is my favourite white rapper and shit like this is the main reason why, improving musically with every new project.

Recommended Tracks: "I Am What Am (Killin' Time)", "Avian", "Red Dot Music", "Objects in the Mirror", "The Star Room", "Matches", "S.D.S.", "Someone Like You", "Gees", "Suplexes Inside of Complexes and Duplexes", "Watching Movies"

Discography Review #2: Pete Rock & CL Smooth

Back in the early 90s, record label Elektra were apparently on a journey to sign more hip-hop acts to the label (as they were known for managing folk and rock acts at the time). They ended up stumbling upon a producer/MC duo under the name of Pete Rock & CL Smooth. Straight outta Mount Vernon, New York, the duo had been making music professionally since around 1989. Producer/DJ Pete Rock got a little kickstart that same year, producing tracks for his late cousin Heavy D (& the Boyz) on the album Big Tyme.
In 1991, Pete Rock & CL Smooth released their debut EP All Souled Out, featuring the single "The Creator" (which, unlike the rest of the project, featured Pete Rock primarily on vocals and CL managing the turntables). The next year, their debut full-length album was finally released: Mecca and the Soul Brother, which is regarded as a classic today. After releasing their second album The Main Ingredient in '94, the duo started to go through some creative differences, breaking up in 1996 after the release of the Searching remix 12". Although they later collaborated on each other's solo projects every now and then and even went on a little reunion tour, their relationship with each other was really complicated, taking jabs at each other during individual interviews. It wasn't until 2010 when they sorted out their differences and announced they had a new album in the works, touring for the 25th anniversary of All Souled Out in 2016.

Although unfortunately breaking up too soon (in my opinion), Pete Rock & CL Smooth eventually left a legacy on the hip-hop culture, with their 1992 single "They Reminisce Over You (T.R.O.Y.)" being regarded as one of the best hip-hop songs of all time. Pete Rock went on to produce for a number of legendary artists, making a mark on the culture with songs like Nas' "The World is Yours" and AZ's "Gimme Yours", and influencing the one and only J Dilla.

So I thought it was only right to continue my series of discography reviews, going through Pete Rock & CL Smooth's catalog. Also, Season 2 of Luke Cage is releasing this Friday (June 22) on Netflix, with its episodes being named after the duo's songs. Let's get it!

All Souled Out

Released: June 25, 1991

Released around the Summer of '91, All Souled Out served as the duo's first project, featuring five tracks and a remix. Pete Rock & CL Smooth manage to take us through a majestic musical trip in under 30 minutes, with Pete Rock using both well-known and obscure samples on his SP-1200 and flipping them so well, while CL Smooth delivering his solid rhymes with a smooth and relaxing delivery.
"Good Life", the intro, builds from a scattered breakbeat to such a dense arrangement, consisting of funky basslines and catchy trumpet samples, as CL give us a gripping analysis of life's luxuries. "Mecca and the Soul Brother" (which would later be the title of their debut album) is my favourite song off the EP, with a runtime of 6 minutes; and CL was spitting HARD! "Go with the Flow" is a catchy and funky tune as Pete Rock laced the beat with a nice flute sample and the "Funky Drummer" drums, while CL floats effortlessly.
Pete takes over vocal duties with "The Creator", a main highlight on the album, where Pete, with his monotone, laidback delivery, raps about his skills on the boards and his expertise with the ladies. Yeah, he ain't the most skilled rapper and most of the time, he doesn't say much in his rhymes. But the delivery is a key aspect for him and he flows pretty well over the funky horn-driven beat. The title track was nothing special, and the Group Home Mix of "Good Life" is aight.
Overall, All Souled Out is an amazing introduction into the sound of Pete Rock & CL Smooth, which would improve so well overtime for the next three years.

Recommended Tracks: "Mecca and the Soul Brother", "The Creator", "Go with the Flow", "Good Life"

Mecca and the Soul Brother

Released: June 9, 1992

Now, this was the album that changed everything for Pete Rock & CL Smooth. Mecca and the Soul Brother was their long-awaited full-length debut, featuring 16 tracks with guest appearances from Heavy D, Grap Luva, Deda, Rob O & Grand Puba. A critically-acclaimed classic, the album features a large number of standouts, and it'd be hella long to go through each and every one.
"For Pete's Sake" is one of the first few songs to get us in the album very well, as both Pete & CL kick some dope rhymes over a funky rhythm, the scratches are tight and Pete Rock came through with the sample flips. "Lots of Lovin'" is such a relaxing joint, especially for Summer days, as CL raps an ode to his partner. "Straighten It Out" is a classic which sees CL touch on bootleggers and dealing with sample clearances.
"It's Like That" and "Can't Front on Me" are some absolute bangers and CL's delivery is immaculate on those songs while Pete kills it with the fire production and scratches. "They Reminisce Over You (T.R.O.Y.)" is one of my favourite songs of all time, a touching dedication to one of the duo's close friends Trouble T-Roy (who sadly passed away around that time) and the beat is just beautiful. Pete Rock's rapping performances have improved a lot from All Souled Out, delivering solid verses on "For Pete's Sake", "Skinz" and "The Basement", and the latter is an amazing posse cut, with Heavy D, Grap Luva, CL & Deda coming through with exceptional contributions.
Mecca and the Soul Brother overall continues where they left off with their 1991 EP and improves on that, with more memorable moments: better verses and elite production which make for some wonderful songs. A classic album that everybody should listen to.

Recommended Tracks: "They Reminisce Over You (T.R.O.Y.)", "The Basement", "For Pete's Sake", "Straighten It Out", "Lots of Lovin'", "It's Like That", "Can't Front on Me", "Return of the Mecca"

The Main Ingredient

Released: November 8, 1994

The Main Ingredient comes just two years after the release of the duo's classic debut Mecca and the Soul Brother, but would also end up being their final album together (although it's been confirmed they've been working on a new project recently, but who knows if that'd really drop). Another 16 track effort which was overlooked overtime, the album saw a more improved and polished sound in comparison to their debut album, especially production wise. CL Smooth's wordplay was still nice and all, but the beats definitely take the cake more than it did on M&TSB. Maybe that's the reason why I enjoy The Main Ingredient slightly more than the former. There's certainly a larger number of standouts, and again, it'd be long to talk about.
"Carmel City" is one of those smooth nighttime joints to vibe out to, as CL attempts to take us on a journey to the city of Carmel, where the most beautiful ladies reside. "I Get Physical" is a banger, and CL's verses deliver hard while Pete Rock comes through with the production & scratches. "I Got a Love" continues the "ladies-man" persona of CL from Carmel City and Lots of Lovin', as he attempts to get down with a lady and make some love.
"Escape" is a Pete Rock solo, and is one of my favourites on the album, the beat is just on another level, and Pete does his thing over the instrumental. "All the Places" is the most beautiful beat on the album, every time I hear the song, it's like I've been taken to another place. "Searching" is one of Pete's best beats, and the vibe is just amazing on that song, with CL rapping about how he has finally found his one girl who he wants to sex with. "In the Flesh" is another solid posse cut, continuing the vibe of M&TSB standout "The Basement", and Pete, CL, Rob-O & Deda spit some hot 16s over a chill beat. I still haven't decided on who had the better verse, but Deda & Pete Rock killed their verses.
The Main Ingredient is definitely an amazing follow-up in the small discography, and definitely deserves a lot more credit to this day. It is actually the one album in their discography I happen to really enjoy the most. The beats from Pete Rock are banging hard as usual, the wordplay is still intact, the smooth vibes are in full effect too. Too bad it ended up being their final body of work, as it ends up being an album that makes you wish they didn't break up too soon...

Recommended Tracks: "Escape", "All the Places", "In the Flesh", "Searching", "I Get Physical", "Carmel City", "I Got a Love", "Take You There", "Worldwide"

Buy the album here!

Rapper Big Pooh - Sleepers

Released: February 8, 2005

So out of everybody in Little Brother, I've been through a solo project from 2 of the members on this blog. I reviewed Connected back in 2015, a project from Phonte and producer Nicolay as the duo The Foreign Exchange. I reviewed 9th Wonder's Dream Merchant series just last Summer. But what about Rapper Big Pooh and his solo shit?

Although not really the star of the trio, Rapper Big Pooh is definitely not to be slept on. He definitely has his great moments on Little Brother songs, whether it's "Cross That Line" or "Tension", and he can certainly snap on beats when he's solo. In fact, he got a more consistent discography than Phonte (especially if we're not counting Te's Foreign Exchange work), dating all the way back to Sleepers, which is today's topic.

Recorded from late 2003 to November 2004, Sleepers served as Pooh's debut, coming a year after The Foreign Exchange's Connected and around the same time 9th Wonder released the first volume of The Dream Merchant. The 14-track album features production mainly from 9th and Khrysis, with Median, Joe Scudda, Phonte, O-Dash, Spectac and Murs providing guest verses.
Yes, Big Pooh isn't the best rapper out, of course, and was a little inferior when rapping with Phonte on Little Brother joints, but Sleepers is a nice 45-minute showcase of the fact that the Virginia native can really hold his own without his partner's presence, as he builds his chemistry with rappers like Joe Scudda & O-Dash over 9th Wonder and Khrysis production. The album title definitely does reflect most of the content, just some soulful shit to vibe out to, preferably during late nights. The album follows a theme of both insomnia and needing to wake up, with movie skits playing here and there throughout the project.

For me, the only forgettable track on Sleepers is the opening track "I Don't Care", my least played song and I always forget how it goes. No pun intended, but I actually didn't care about that song. But as soon as we get into "The Strongest Man", that's when the album gets real consistent from start to finish. Produced by the one and only 9th Wonder (and mixed by Khrysis by the way), it's a song that helps to set up the soulful knocking mood expected on the album; delivering bars such as "Got the whole game sprung, not fingers and toes/Everybody's all froze like heroin's in their nose/Addicts, I suppose say my product is lethal/My pen been compared to a hit of that diesel". Plus, it bangs hard as hell on my gym playlist, ha! "Heart of the City" is already one of the more introspective cuts on the album, as Pooh takes us on a trip to his hometown, painting a picture of the inner-city life struggle. "Just Friends" is a chill vibe, where Pooh tries to explain to a friend that he isn't looking for a relationship, and just wants to be friends with benefits. This line sums it up: "I just wanna be your friend with privileges/not talkin' on' the phone all night about, where I was or who unless we went out, don't fuss and pout/'cause you know how I do, always chill with the crew but make time for you". The song is pretty catchy, and I enjoy Pooh's delivery on his verses. Not to mention, the drums, courtesy of Khrysis, are harder than bricks.

Unlike Phonte's soulful, feel-good vibes displayed on his Foreign Exchange discography, Sleepers mainly consists of good old-fashioned hip-hop: straight bars and some good chemistry with most of the guest appearances on the album. It isn't that long into the album until Phonte jumps on a track with Rapper Big Pooh and "Every Block" is one of the funkier, feel-good joints on the album, beat courtesy of 9th Wonder. Both 'Te & Pooh deliver some solid verses, and although Phonte does his thing, Pooh slightly had the upper hand on this one, being one of his stronger Little Brother moments (yeah, I count this as a LB song even if it's on the Pooh solo project, haha).
O-Dash appears on two joints, which are some of the more introspective and personal cuts on the album. On "Live Life", Pooh, Dash & Spectac delivers some touching verses, with Pooh touching on his damaged relationship with his older brother. "My Mind" sees Darien Brockington provide a hook on the most beautiful song on the album, as Pooh & Dash rap about lost ones, whether family, friends or a partner. Dash even has his own interlude, appropriately titled "Dash's Interlude", where over Nicolay production, he provides a little 20 bar verse, which was pretty decent. "Scars" is definitely another highlight on the album as Pooh links up with Median & Joe Scudda for a slightly emotional cut to deliver some killer verses. Pooh did his thing but it's so hard for me to decide on who had a better verse between Median and Joe. Median was so amazing with his delivery, he floated hard on that beat. But Joe managed to hit deep with his verse, even letting the "Cut Me Deep" sample speak for him.

Sleepers is very notable for its production, carried heavily by 9th Wonder & Khrysis. Nicolay & Little Brother manager Big Dho both provide a beat each though. "Scars" is easily the best instrumental on the album, the way 9th chopped that Curtis Mayfield sample just amazed me. And then Rapper Big Pooh, Median & Joe Scudda's verses to top it off! "Between the Lines" is some feel good Summer type music, where Pooh keeps it simple, attempting to get his crush's attention with hints, but she's clearly not paying attention. Produced by Big Dho, "The Jungle" is basically just a sample loop, but it still remains such a smooth song on the album. The Murs- assisted cut "Now" serves as a 9th Wonder remix to an early song called "Keep the Bling", originally produced by Khrysis, and both Pooh & Murs do their thing on this joint, especially Murs. Speaking of Khrysis, he delivered hard with his production, with "Live Life" banging harder than a bitch, "My Mind" being the most beautiful song on the album and the drums on "Just Friends" hitting real good. The album finally concludes with "The Fever", where over a sombre instrumental from Khrysis, Pooh spits about him and his music being seen as the cure for the sick; coming with bars such as "They say the kid, yo it doesn't exist/I've been known to be prescripted, hand to hand to handle the fix/a contraband landed me on the list, want an issue, phlegm ripped tissue, I popped the cassette/diagnosed the disease that's been given to vets, I'm a hero outta town and come home to threats". It ends the album so calmly, adding on to the late night theme the album provides throughout.

Overall, Sleepers is a solid showcase of how well a rapper who was seen as the "weakest link" in the trio can hold his own on a full-length album for 45 minutes. No, it isn't as great as the feel-good vibes on The Foreign Exchange's Connected, and lyrically there are a lot more better moments on 9th Wonder's Dream Merchant series. And hell no, it doesn't hold up to most of Little Brother's projects from 2003-06. But Sleepers is still such a great album, consisting of good ol' regular hip-hop vibes and fire production. Pooh manages to show off much better moments solo than in LB, where most of the time, he completely pales in comparison to Phonte. But hey, at the end of the day, Pooh can still out-rap a lot of rappers. And this album is proof of that.

Recommended Tracks: "Scars", "Live Life", "My Mind", "The Strongest Man", "Now", "Heart of the City", "Between the Lines"