Slum Village - Detroit Deli (A Taste of Detroit)

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J Dilla - Ruff Draft

Original Release: February 25, 2003
Reissue: March 20, 2007

In 2001, Jay Dee aka J Dilla released his solo debut, Welcome 2 Detroit, preceding Fantastic, Vol. 2 with his group Slum Village. The first volume of the Beat Generation series from BBE, the album was a showcase of Detroit's talent, full of 16 tracks with appearances from Elzhi, Frank-n-Dank, Phat Kat, Dwele, Hodge Podge & Lacks.
The same year, Dilla left Slum Village to pursue a solo career, and released its first single "F*** the Police", which was inspired by his own situations with the Detroit Police. In 2002, he secured a deal with MCA and started work on a second album titled Pay Jay. Although Dilla was known for his production rather than his rapping, he decided to get on the mic, and get beats from different producers. The album never saw the light of day, and was shelved due to internal changes at the label.

Due to his frustration, he released the EP, Ruff Draft in February 2003, which was recorded in under a week. While it remains one of Dilla's lesser-known works, the EP includes some of his most abstract and experimental work, toying with different sounds. It features 10 tracks, with no features, and like his planned sophomore effort, showcased Dilla's rapping skills. In 2007, Stones Throw released a remastered reissue of the EP, which featured 4 bonus tracks: the alternate version of the Intro and "Shouts", and 2 previously-unreleased tracks.

Anyway, we don't know how much it sold or whether it got critical acclaim, let's just get into it!

1. Intro
Just an opening skit, that sees Dilla informing listeners that this is for the "real niggas". Nothing really.

2. Let's Take It Back
A lot more electronic and hardcore, as J Dilla provides an opening verse. He introduces the song in the same style of Q-Tip's "Verses from the Abstract", and goes straight in, giving us bars such as "I'm lettin you know, I'm like The Professional/Makin my hits, collectin my dough". The beat is just funky as hell, and got me bumping my head. I wish it was longer and that Dilla did a second verse. This was just too good!!!!

3. Reckless Driving
A freakin' head bumper. It's funny cos it took me a few listens to get used to this track, I thought the beat was lacking. But it's now one of my favourites on the project. The beat is just wavey, the type you can bang in your trunk. Dilla's flow is just on point, and his lyricism is tight. Gets me bumping my head non-stop. Such a standout!

4. Nothing Like This
A lil different from most of the tracks here, This time, Dilla sings and he doesn't disappoint. The sound is more sombre but weird, and Dilla's vocals are distorted, which gives the song such a wavey, chill and strange vibe. It's so crazy and weird but dope AF!!! The production is just amazing, on some next-level shit. What even made the song even better is that THE SAMPLE WAS FAWKIN REVERSED!!!!!!!! SHIT! The video is beautiful, made a nigga shed a tear. One of Dilla's best tracks. It's tracks like these that make me love Dilla. So beautiful, so lovely!

5. The $
A lot hardcore and very gritty. After an intro of scratches, Dilla goes in and snaps like DAMN!! The beat is just ill, and the flow is on point. Hook is catchy, as expected, and the whole song is just a head bumper as usual. The ending is a bit chill and experimental too, before the song abruptly stops. Great track.

6. Interlude
The title says it all...

7. Make'em NV
BANGER!!! The sample is just too much, God damn! Dilla comes through with some more heat, while a headbumping instrumental is provided. The M.O.P. soundbite is way too suiting, and make this song so better. As usual, Dilla's flow is tight and A1, and the content and lyricism is dope AF. The whole song just gets me vibing and in the mood. Love this song.

8. Interlude
Another one! *DJ Khaled voice*

9. Crushin' (Yeeeeaah!)
A chill and freaky song, which is censored, unlike the other tracks, probably due to the dirty content. But God damn, this is so damn funky. I can vibe to this shit. The content is on point, and the lyrics on here are basic but sweet. It's just the flow and delivery that makes it so good! The beat is just too chill and wavey, and everything about this track is amazing. This the type of shit you can play in the Summer, and just vibe to while on Holiday! One of my favourites on the EP.

10. Shouts
Dilla basically just does a shoutro, shouting out his friends and people that he fux wit. I like this, but that beat though... I need that instrumental. Them African drums are on freakin' point!

The following are previously-unreleased bonus tracks that were on the 2007 reissue:

11. Intro (Alt.)
A different version of the Ruff Draft intro. This time, it features an instrumental, and Dilla sounds a lot more energetic and eager to get into the project, unlike the original one. If only he used this one.

12. Wild
Always thought the beat was messy, but damn, it gets me vibing. Dilla samples a kid singing a song, and he flips it so good. The beat is dope AF, and the flow and lyricism impresses me so much, coming with bars such as "Get wild on the Rampage, "Wild for the Night"/Get it lifted like Winona Ryder". Another headbumping joint!

13. Take Notice (feat. Guilty Simpson)
Guilty Simpson jumps on this cut, which was actually the beat playing on the first interlude on the original release. It takes almost a minute to start (cos Dilla talks too much, hehe) before Guilty & Dilla come in with straight bars. Guilty starts off sick, coming with lines such as "I'm jumping in the game head first and make the TEC jerk/To cancel your network" and "You feminine cats catch a bad one/My gun gon' be there poking that ass with Magnums". Dilla comes through and he freakin' snaps, with bars like "Cats preparing for they last days like it's J2K, but they way too late/Wrap up a piece/Ready to feast, maybe they'll save you a plate". The two both deliver straight heat, but I gotta give the crown to Guilty, he killed that shit and had the better lines. Dilla still did his thing though.

14. Shouts (Alt.)
An alternate version of the shoutro. There's no African drum instrumental, and Dilla shouts out a few more people than the outro, saying "rock on" in the style of Q-Tip on "The Chase, Pt. II". The instrumental is a lot more funkier and isn't too headbumping like the original. I like it though, it's dope, and Dilla still keeps the flow intact.

Final Thoughts
Ruff Draft is such a solid project. From start to finish, it's just straight up heat. The production is A1 and is on point, and the bars are just HOT!!! The title is simple. Most of the tracks are short, being at 2 minutes, feeling very unfinished and like a demo. It sounds more rough, raw and rugged. It's one thing that pisses me off. The tracks on this EP are just too good, and gets me vibing, but feel very incomplete.
One thing you also notice is the sound. After the opening intro from Dilla, as he tells us how the project is gonna be like, we get "Let's Take It Back", which sounds raw and hardcore, but has a funky electronic-infused instrumental. Dilla starts to experiment and toy with new sounds, trying something new with every song. The versatility on this project is just on point. An example of this is "Nothing Like This", where he reverses a sample and distorts his vocals, giving such a strange and rough vibe. Or "Crushin (Yeeeaah!)", which is more of a funky song you can vibe to in your whip, when the sun is up. "Make'em NV" is also another one, a pretty hardcore song, which takes a soundbite from M.O.P., as Dilla spits about shaking the haters off and flexing on them. "Shouts" is also dope. While it's a shoutro, the instrumental is just amazing, fawkin bangs!

The lyricism is on point, an example of how not only Dilla was such a great guy on the boards, but one of the best producers on the mic. "Let's Take It Back" features lines like "I'm lettin you know, I'm like The Professional/Makin my hits, collectin my dough". We get fire bars like "Let's do it, worldwide, show that shine/Get the cash, and flash like Kodak blind 'em" on "Make'em NV". "Crushin (Yeeeeaah!)" is such a great song, and while it's more of a Summer jam for the ladies, we still gets some heat lines like "My dick stay half-baked so bitch you know what I wrote/I have... and I don't wanna talk to no Sampson". Most of the lyrics on the EP are so great that I just squint while vibing out to the tracks.

The bonus tracks on the reissue are just as good as the original tracks. The alternative "Intro" is great, and while Dilla doesn't rap, he sounds a lot more energetic as he introduces it, and eager to get into the EP. "Wild" is just a banger, and is the type of shit you could've played in the club back in '02/'03. I could've imagined it being a single, if released earlier and having a video. "Take Notice" is the only track with a guest appearance, a raw electronic banger, which sees Dilla & Guilty go back and forth with straight bars. No hook, just bars! And the alternative "Shouts" outro is great, he doesn't sound as energetic as the original shoutro, but he still keeps the flow intact while having a dope ass instrumental.

If only the EP was longer though. Most of the tracks are just so short and sound so incomplete. "Let's Take It Back" could've easily had a second verse, I get it was supposed to introduce the project along with the opening skit, but damn, it was just too good and it ended too quickly. And "Make'em NV" could've had an extended version, with a third verse. But that's what makes Ruff Draft what it is: a great EP full of dope ass tracks that sound unfinished. Buy this shit. It's a must have for Dilla fans and doesn't disappoint at all. Not only is the production good, but the lyricism is top-notch. If only Dilla was here to provide us new shit.

The Furious 5ive
Nothing Like This
Crushin (Yeeeaah!)
Make'em NV
Let's Take It Back
Reckless Driving

Honourable Mentions
Take Notice
The $

Gorillaz - Gorillaz + G Sides

Released: March 26, 2001

Something slightly different from our normal type of albums, as I go into alternative music, reviewing a band that I always thought of writing about: Gorillaz.

I'm sure most of you readers have at least heard of Gorillaz, or even heard one or two songs from them. If you haven't, they are an English virtual band created by alternative rock band Blur frontman Damon Albarn and artist Jamie Hewlett. Formed in 1998, the animated band consisted of 4 members: 2D (the frontman who does lead vocals and plays keyboard), Murdoc Niccols (bass guitar), Noodle (keyboard, guitar & backing vocals) and Russel Hobbs (percussion & drums). Most of you should know them for their collaborations with many hip-hop artists, from Del the Funky Homosapien to Vic Mensa, but let's take it back to the start.

The relationship between Jamie & Damon began when they first met in 1990. At the time, Blur was just recently formed, and lead guitarist/secondary vocalist Graham Coxon was a fan of Jamie's work, asking for Jamie to interview them. The interview was published on Deadline Magazine, which was the home of Jamie's comic strip Tank Girl. Jamie didn't really get along with Damon and the band members, calling Damon "arsey" and "a wanker", and also not getting along with Graham when he started dating Jamie's ex. Despite this though, Jamie & Damon shared a flat on Westbourne Grove, London in 1997, with both breaking up with their girls.

The idea for the band came when Jamie & Damon were watching MTV. They originally named the band Gorilla and the first song they recorded was "Ghost Train". The musicians behind Gorillaz's first incarnation included Damon and Deltron 3030 (Del the Funky Homosapien, Dan the Automator and Kid Koala), who previously worked together on Deltron 3030's eponymous debut album in 2000.
Gorillaz's first release was the Tomorrow Comes Today EP in 2000, featuring the title track and 3 new songs (2 of which would be on the album, and 1 that would be edited and dubbed into Spanish). They released their first single "Clint Eastwood" featuring Del the Funky Homosapien (the original actually featured Phi Life Cypher) in March 2001, and later that month, the long-awaited eponymous debut album was released.

Gorillaz was preceded by the Tomorrow Comes Today EP, and the first single "Clint Eastwood". Supported by 4 singles, the album featured production from the band themselves, along with Dan the Automator, Tom Girling and Jason Cox, and featured guest appearances from Del the Funky Homosapien (who wasn't even originally supposed to be on the album) and Ibrahim Ferrer. Throughout the album, the band experiments with a variety of musical genres, such as dub, hip-hop, rap rock, art rock, punk rock, reggae, psychedelia and Latin music.

The album received generally positive reviews from critics, who praised the sound and content. It was listed on many best albums of the 2000s lists: it was ranked #6 by Spin in their AOTY list in 2001, and #96 by Slant Magazine. Q listed it as one of the best albums of 2001, Complex listed it as one of the best albums of the 2000s, and was included in the book 1001 Albums You Must Hear Before You Die. It was a commercial success in the UK & US, reaching #3 in the UK, and #14 in the US. It managed to sell over 5m copies worldwide.

Anyway, let's actually check this out and see how great it is...

1. Re-Hash
The album opener. I like the singing and production on here, pretty interesting and fascinating. It gives such a vintage 60s-like vibe, with a modernized twist, especially considering the drums and instrumentation.  But by the 2-minute mark, it kinda gets bland. The lyrics are lowkey confusing, and are not varied, pretty much having a big drug reference. A decent opener that could've been really better.

2. 5/4
A pretty interesting song. The guitar riff is great, and I like the theme, talking about drugs and how it makes 2D feel, saying that it's good for him, but makes him feel sad and overdose. The drums are nice, and the melody is pretty catchy. The instrumentation reminds me of pop rock, and the type of songs that would play from the 90s to the early 2000s. A lot better than the previous track, and I was actually feeling the vibe.

3. Tomorrow Comes Today
The title track from the 2000 EP release. Not only is it IMO the best song on the album, but one of my favourite Gorillaz tunes. The song is pretty depressing and dark, as 2D/Damon sings about the Information Age & humanity, and how he feels uncomfortable in this world. The production is so relaxing and laidback, the drumbeat is dope AF, and I love the harmonica on here, it makes the whole song better. The content in this song is very interesting, and the sound is pretty sad and depressing, while giving a smooth and relaxing vibe. The music video even complements the whole song, and makes me love it even more. Almost 16 years later, and this song still delivers!

4. New Genius (Brother)
I love this track. Something about this song just makes me fawk with this, and actually bump my head to this. It has a spacey laidback vibe, and the production is just banging. The lyrics are pretty subtle, and I love 2D's singing on here. The scratches on here are pretty intriguing as well, and I actually dig the melody, it's very catchy and really got to my head really quickly. Overall, the song is something I can just vibe to and sing along to. One of my favourite songs.

5. Clint Eastwood (feat. Del the Funky Homosapien)
The classic first single off the album, with Del on the mic, while 2D sings the hook. Dan the Automator is on the boards, along with the band themselves, providing a menacing and mellow beat. Del's 2 verses are fire, and his flow is pretty interesting. The concept is pretty interesting, as it's part of the Gorillaz canon/mythology. Del the Funky Homosapien plays Del, a spirit who was hiding from death within Russel Hobbs, the band’s drummer. As part of Russel's back story, Del's character was one of Russel's friends that was gunned down in a drive-by shooting. The production is basic, yet so interesting and menacing, especially with the ominous piano. 2D's chorus is so hypnotizing, and Del really snapped on this track. Another highlight on the album!

6. Man Research (Clapper)
I kinda dig this, the vibe is pretty strange, but interesting, with an eerie drumbeat and video game-like sounds. The hook makes 2D sound like a freakin' baby, although the verses are actually decent. I like the production, it's actually alright. I mess with it. It's just the hook that I didn't like. An alright track!

7. Punk
This is more like an interlude, especially considering the length. Judging from the title, I think it's 2D/Damon making fun of punk rock and its content. It's nothing special, really, just a little track that is a lot different from the other tracks on the album.

8. Sound Check (Gravity)
Well, I didn't see that coming. Starting off sombre and depressing and then the drums and the scratches just kick in. I was just like, OH MY GAUD!!!! The scratches are freakin' dope, and the lyrics are great. But am I the only one that feels like this should've had a rap verse or something. I could imagine Del on this, y'know. The instrumental is pretty haunting and gives a dark vibe, and I was really digging 2D's singing, with them gentle and soft vocals. GAUD DAMN!!! Another standout!

9. Double Bass
Just an instrumental, with electronic sounds and a few scratches here and there. The guitar riff is actually pretty good. But the song just runs on for too long. 5 minutes?!!! There's no vocals, it should've been a 2 minute interlude or something. Anyway, moving on the next track.

10. Rock the House (feat. Del the Funky Homosapien)
The album's third single, and Del returns to provide 3 fire verses, with no additional vocals from 2D. The song is basically what the title suggests. About dancing and having fun. The instrumentation is dope as hell, and gives such an old-school vibe. The horns and flutes on this track are amazing, and I love it. But I always thought the track would sound upbeat, especially judging from the beat. Thought it would have the type of beat I could get jiggy to. I ain't complaining though, this is tight. The old-school vibe is amazing and I love it. One of the best songs on the album.

11. 19-2000
The album's second single, and it was one of my favourites. It still is today. A pretty funky song, which is basically against commercialism, which is funny cos this was used in a gum advert. 2D sings about keeping up with the new trends to look cool in front of everyone. His verses are short and simple, but very intriguing. Noodle's "get the cool shoeshine" bridge is catchy AF, and always sounded like a jingle for a commercial. The production is funky and a little upbeat, with the electronic sounds and a little jolly sound. Great track, still one of my favourites!

12. Latin Simone (¿Qué Pasa Contigo?) [feat. Ibrahim Ferrer]
A strange, but interesting song. Originally sung by 2D in English, the song is dubbed in Spanish by the late Cuban singer Ibrahim Ferrer, and even if I don't understand WTF he's saying, it still sounds good and I love the Spanish vibe, having such a great effect.

13. Starshine
A little boring. Has a depressing theme to it, with a pretty slow dub drumbeat, and dope bass. But there's hardly any verses, just repeated vocals. It's a song I can listen to without any problem, but I wouldn't say it's one of the album's highlights.

14. Slow Country
A pretty laidback track, good for the Summer and all. Gives a sunny Jamaican reggae and dub vibe. The vocals from 2D are nice, and are quite fitting for the track, and the song has a nice melody. It's the type of song I'd see at the end of a movie, during the end credits scene and shit. Decent song.

15. M1 A1
So the album ends here. After starting off with suspenseful 80s-like music and a guy repeatedly saying "Hello, is anybody there?", the song slowly switches to British rock as the guitar fades in. It's the type of music that you can jump up to in a festival. The guitar is just on point, and the drums are great. It sounds exactly like a Blur song, and I see Damon singing it more than 2D. I fux with it. A very good conclusion.

When I first heard the opening track "Re-Hash", I was thinking that I wasn't gonna like this album as much as I expected myself to. I thought, other than the singles, that I wouldn't like that much on the album. But boy, was I wrong. Gorillaz is such a freakin' dope album. From track 1 to 15, every song delivers. Lead singer 2D (or Damon) goes through a large subject matter, such as commercialism ("19-2000"), partying and having fun ("Rock the House"), humanity living in the Information Age ("Tomorrow Comes Today") and drugs ("5/4" and "Clint Eastwood"). It also manages to succeed at experimenting, as a variety of styles from hip-hop to Latin are used throughout, making the album give so many different vibes. I love the production on here, it's just top-notch and on some next-level shit. The drums on "Tomorrow Comes Today" are just so ill. "New Genius (Brother)" is wavey, the instrumentation is just banging. "Slow Country" has such a sunny vibe, can hear a little reggae in it. And "M1 A1" sounds exactly like a Blur song, and the guitar is sick. The features are little, but still impressive. Del the Funky Homosapien was great on "Clint Eastwood" and he really gave a retro old-skool vibe on "Rock the House". Although I didn't understand what the fawk Ibrahim Ferrer was saying, he gave a nice feel to "Latin Simone". Overall, I love the album. Buy it! It's such a quality project from a virtual band. The vocals are great, the vibes are on point, and the production is top notch. The experimentation succeeded and managed to impress me. Damon & Jamie managed to pull the idea of Gorillaz, showing that 2D. Noodle, Russel and Murdoc were more than just a idea.

Recommended Tracks
Tomorrow Comes Today
Rock the House
Clint Eastwood
New Genius (Brother)
19-2000
Sound Check (Gravity)
M1 A1

But wait, there's more!

Released: December 12, 2001

In December 2001, 9 months after their debut album was released with the singles being very successful, Gorillaz released G Sides, a compilation album full of previously-unreleased tracks, b-sides and remixes. It was originally released in Japan in December 2001, before being released in early 2002 in both the US & Europe. The compilation features 10 tracks, with guest appearances from Phi Life Cypher, Del the Funky Homosapien and Miho Hatori, and a Soulchild remix of "19-2000". The album debuted at #65 on the UK Albums Chart, and #84 on the US Billboard 200.

Anyway, let's see how these B-sides were like...

1. 19-2000 (Soulchild Remix)
Soulchild provides a remix of "19-2000", which is a lot more poppier and upbeat than the original. It's alright, but it really just adds a bubblegum feel. To be honest, it was even worse than they used this for a gum advert, that's what made me not like the remix much. It doesn't even sound like a regular remix, it sounds like something for a kids advert. It just feels so average, compared to the original, and too poppy for my liking. On to the next one...

2. Dracula
This was the B-side of the "Clint Eastwood" single, which sounds like a chill, but menacing track. You can hear a lot of reggae/dub in the track, along with a little jazz. It's a slow jam you can vibe to. It's mostly instrumental though as 2D just repeats a verse and hook, just to let the beat ride for the next two minutes and shit. But I like it, the production is nice AF, the bass is on point, and damn the instrumentation on here, man! I just wished 2D sang a little more, rather than just letting the beat ride. I still dig the song though.

3. Rock the House (radio edit) [feat. Del the Funky Homosapien]
Pretty much the radio edit of "Rock the House", as the title suggests. Really, nothing has changed, apart from the fact that the 3rd verse is omitted, which reduces the song to 3:00, rather than 4:09. Plus, it's clean. That's pretty much it, to be honest.

4. The Sounder (feat. Phi Life Cypher)
Originally the b-side to "Rock the House", Phi Life Cypher jump on this dope ass track, providing some dope ass verses, while 2D provides a hook with a squeaky tone. Life starts off really nice, and I was really digging Si Phili's verse. 2D's singing on the hook is actually pretty interesting, while weird, and I actually like it, especially during the outro after Life & Si Phili share the third verse, while 2D hums and scats for like a minute or two. The production and instrumentation on here is amazing, and the melody is great. The outro is just beautiful, the humming, scatting, the repeated line from the 3rd verse. It's one that makes the whole song so much better.

5. Faust
The second b-side to the "Rock the House" single, which is a lot electronic, but sombre. After 2 minutes of instrumental, Noodle sings in Japanese, as 2D translates it while she repeats her verse. To be honest, it feels so short as the instrumental takes over. We hardly hear 2D & Noodle sing until the 2 minute mark, which lowkey disappoints me, cos I would've loved to hear them sing more. A decent track.

6. Clint Eastwood (feat. Phi Life Cypher)
Phi Life Cypher were actually the original people that were on "Clint Eastwood" for the album, until Del the Funky Homosapien was asked by Dan the Automator to record some verses for Gorillaz on both "Clint Eastwood" and "Rock the House". This led Phi Life Cypher to be omitted and replaced by Del on the album version. But, while it's unfortunate that they didn't get to be on the album, we managed to get the OG version on this compilation. Si Phili starts off with such an ill verse, spitting hot fire such as "I spit words from my mouth that be turnin' you inside out/And I tie knots in intestines just like I'm a boy scout". Plus, his flow was live, I was feeling it like WOAH! Life comes through after and he also kills it, his flow's on point too, delivering bars such as "To the top of my lyrics escalate, accelerate and leave you panickin'/Take the ground from beneath your feet, leave you Skywalk-in' like Anakin". Si Phili comes with another verse, and he once again snaps. The beat is a little different from the album version, I get a different vibe, which is more unpolished and raw here. Another thing is that 2D doesn't sing the infamous hook, which makes this version a lot more darker and less friendly than the album version. While Del really delivered on the album version, this was hands down lyrically better. I mean, Si Phili & Life fully murdered the track! Makes me wonder why Damon didn't put this one on the album.

7. Ghost Train
The third and final b-side to "Rock the House", which is also electronic but pretty catchy and funky AF. It sounds like a theme song, especially with the catchy hook. It starts off slow and steady, but by the middle, is a lot more upbeat and funky, on some 80s new wave shit. By the end, it gets to some alternative rock. The instrumentation is on point, and 2D's singing is great. The way the song builds up and how it switches from electronic to new wave to rock just amazes me. I fux with it, it actually gets me vibing.

8. Hip Albatross
Feels like an interlude, to be honest, especially with the soundbites. A chill, but depressing track, with a gloomy instrumental. 2D sounds insane and out of his mind, and says he was born a zombie. It's alright, I guess. I like the chill vibe, but the song feels way too short.

9. Left Hand Suzuki Method (feat. Miro Hatori)
Here, instead of 2D on the vocals, Noodle (voiced by Miro Hatori) takes over the track, which is pretty funky. She doesn't sing or anything, she just talks about the philosophy of the Suzuki Method, while a funky hip hop beat is playing. I would've loved this song more if 2D or Noodle actually sang on this track. The beat made this song had potential. Oh well, on to the next one!

10. 12D3
Sounds like a country/indie-like track. After taking almost a minute to really start, 2D sings for a while, as a wavey and chill instrumental is playing. 2D's singing is nice, and the harmonization is on point. There's not really a beat, it's just a ukulele loop going on to 3 minutes, which isn't bad, cos a few more instruments come into the track to make it sound even better. Even if there wasn't enough vocals, I actually dig the song. Pretty chill, and a good way to end the album.

So about G-Sides... it actually isn't bad. It's a decent project. Obviously, it's a compilation of tracks that didn't make the album, full of 10 tracks which, like the original album, experiments with a variety of genres from trip hop to punk rock. Unlike the original album, most of the tracks, however, sound like interludes or instrumentals that just have a few vocals on here. "Faust" was pretty much an instrumentals until 2D & Noodle came in near the 2 minute mark. "Hip Albatross" felt like an interlude, with the soundbites all over the track and 2D singing just a little. "Left Hand Suzuki Method" is basically Noodle talking over a dope ass beat, and "12D3" just has a few vocals from 2D. There are still a bunch of solid tracks on the compilation. Phi Life Cypher delivered on "The Sounder" and "Clint Eastwood". "Dracula" was a dope track, with a dub/reggae vibe to it. "Ghost Train" is actually great, and is probably the only song that feels complete. The way the song switches from electronic to new wave to rock just amazed me. Overall, this is just a solid project. If most of the tracks had more vocals and felt complete, I would've loved it even more. I recommend a burn. It's alright, just could've been better. Then again, these were just b-sides and outtakes that didn't make the album, and I'm glad it didn't.

Recommended Tracks
Clint Eastwood (Phi Life Cypher Version)
The Sounder
Ghost Train
12D3
Dracula

A Tribe Called Quest - Beats, Rhymes and Life

Released: July 30, 1996

In 1990, A Tribe Called Quest released their debut album, People's Instinctive Travels and the Paths of Rhythm. It was preceded by a few guest appearances from frontman Q-Tip, and while it's known for having a few classics on there, it's actually their most underrated album. 1991 saw the release of their critically-acclaimed classic The Low End Theory, being praised for its positive jazz rap sound and improved production, and then 1993 with Midnight Marauders, which also can be seen as the group's best work.

After the release of Midnight Marauders, ATCQ took a little intermission. Q-Tip contributed to not one, but TWO classics: Nas's Illmatic in 1994 ("One Love") and Mobb Deep's The Infamous in 1995 ("Give Up the Goods (Just Step)", "Temperature's Rising" and "Drink Away the Pain (Situations)"). Phife Dawg managed to get a sweet 16 on the intro for TLC's CrazySexyCool in 1994, and at the same time, married his fiance and relocated to Atlanta, Georgia. Ali Shaheed Muhammad got to work with various artists such as D'Angelo, Shaq & Gil Scott-Heron. The group also contributed to The Show movie soundtrack in 1995 with a song called "Glamour and Glitz". While on tour, Q-Tip met a young J Dilla (who, at the time, was known as Jay Dee) through Joseph "Amp" Fiddler, a friend of Tip. He suggested that they should work together and form a production unit with Ali under the name: The Ummah (Arabic for "the Muslim community", since both Tip & Ali are Muslim).

Summer 1996 saw the release of Tribe's long awaited album, Beats, Rhymes and Life, after a three-year intermission. Led by "1nce Again" with Tammy Lucas, the album was known to be the group's departure from the positive, joyful vibes, and was their darkest album in content. The Ummah were credited as producers throughout the whole album (although most of the beats on here were produced individually and not together). Not only was it another kickstart to J Dilla's career (following his work on The Pharcyde's Labcabincalifornia), but Consequence, who is featured on half of the album. The album is also known for the lack of Phife Dawg, seeing that he moved to Atlanta back in '94, leading Tip to take over a lot of the album. Phife even spoke on this saying that there was a lot of studio sessions that he never got to participate in, due to timing and his distance from the group, since moving to Atlanta.

The album was met with generally positive reviews, with many praising the darker sound, content and production on the album, along with Consequence's appearances on the album. It debuted at #1 on the Billboard 200, and by 1998, was certified platinum. It was also nominated for a Grammy for Best Rap Album, along with its single "1nce Again" for Best Rap Performance by a Duo or Group.

Anyway, let's see how this album actually turned out to be...

1. Phony Rappers (feat. Consequence)
The opening track on the album, which sees Q-Tip, Phife & Consequence criticize MCs who lack ability and skill. Both Tip & Phife share some stories about their encounters with wack rappers. Tip raps about how a young kid challenged him to a rap battle. The kid was spitting something pointless and wack, before Tip showed him his skill and lyricism. Phife replies, saying that he was in a similar situation, where some guy said to him he doesn't deserve to be a rapper, and that he'll eventually fall off. Phife saw this as a challenge to battle him. The guy rapped about weed and guns, before Phife hit him with a "verbal assault". After another killer verse from Tip, Consequence manages to come through, going back and forth with Phife, rapping about how many "dickriders" they have, their blvd and how ill they are, warning other MCs not to test them. The instrumental is a lot darker and scary, unlike their earlier beats, and gives such a serious and negative feel. A dark, but dope opener.

2. Get a Hold
Tip gets a solo, as J Dilla provides such a dope beat for him to spit his hot bars on. Dilla's beat is pretty dark, using a jolly and light sample and distorting the pitch, making it sound a lot disturbing and dark. Tip comes with some crazy lyricism, especially on the third verse, which was a Hip-Hop Quotable on The Source, having bars such as "A-yo, we just getting started, got to redirect this vision/Got the beauty of a flower plus dimensions like a prism/Your minds are locked down like prison". The beat is just amazing, and is one of Dilla's gems. And Tip didn't fail to impress me. One of my favourite tracks on the album.

3. Motivators (feat. Consequence)
Tip, Phife & Cons are back as they go back and forth over a funky retro-like instrumental, and they don't disappoint. Phife started off pretty nice and smoothly, and I really liked his verse. Q-Tip was pretty good with his one too, and Consequence really surprised me with his verse. Everyone really came through with their verses, and their flows were sick. The beat is way too dope, and the hook is catchy AF. If I was to choose who killed it, it has to be Cons. That nigga freakin' spazzed on this shit! Phife & Tip did their thing, and I really loved Phife on this. Another great song.

4. The Jam (feat. Consequence)
A funky "jam" (no pun intended), where Tip, Phife & Cons tells the story of a boy smoking his first joint and going to a party. The 3 all managed to deliver, and the beat, along with its sample is freakin' wavey! The lyricism is great, and I liked how the 3 told the story, and make it funny and interesting.

5. Crew
A quickie one-verse wonder from Tip, which sees him getting angry when he finds out his best friend was with his wife. They used to be real close until his friend ended up turning on him. A skit is then heard where Q-Tip is arguing with his friend, until a few shots are fired. The beat is pretty smooth but lowkey dark. And this is one of the tracks on the album, where we can hear a little more darker and serious content.

6. The Pressure
A standout, where Tip & Phife deliver one verse each over a funky beat. Tip really starts it off pretty nice and smooth, and he killed it, and Phife managed to really deliver with his verse. The scratches at the beginning were live AF! I wish it was longer tho. Although 3 minutes, it kinda felt short. Could've added one more verse each from Tip & Phife. I still love this song though!

7. 1nce Again (feat. Tammy Lucas)
Tammy Lucas sings the hook as Tip & Phife rap on this spacey beat, courtesy of The Ummah and co-produced by the one and only J Dilla. This is more of a sequel to the classic Low End Theory cut "Check the Rhime", interpolating the "You on Point" bridge, and even filming the video at the same place they filmed the original in 1991. This one gets me vibing a lot more, with a much funkier instrumental provided. Tip & Phife both deliver two verses each. and they really did well with it, it's pretty hard to decide whose verse was better. Tammy's hook was alright, I guess, and I lowkey expected a better one, to be honest. I just love the beat, it's too funky and spacey, and it gets me vibing. Love this song!

8. Mind Power (feat. Consequence)
Consequence gets back on the mic with Tip & Phife, as they provide some sick verses over a dope instrumental. Q-Tip started off great, and manages to shout out Mobb Deep and fellow Native Tongues members, Busta Rhymes, De La Soul and Jungle Brothers. Consequence continues off great, and he really killed his verse, like DAAMMN! Even managed to slide in a Mobb Deep reference ("The verdict's in, I be the look of blendin/Give up your goods cuz it's the start of your ending"). But, Phife's verse is freakin' amazing. He snapped on this. "I keeps it realer than the logo on milk/Denouncin tough guy wannabes that look smoother than silk", OOOOOO!!!! I loved his verse. The beat is pretty jazzy and smooth AF, and everyone did their thing. Another dope ass track.

9. The Hop
Arguably the best track on the album. The beat is so damn good and I thought J Dilla was behind it. I was surprised that he didn't even produce it (it was Rashad Smith). Tip & Phife each deliver 1 verse. Tip started off the song nicely, and it was more of a verse that encourages the listener to vibe to the song. But Phife comes through with some lyrical heat. I would recite his part everytime the song came on. It's that dope, prolly one of his best verses. "You see you, your career is done like Johnny Carson's/Get me vexed, I do like Left Eye, start an arson", you can't tell me those bars weren't fire! A great song, which, without Phife's presence, I wouldn't have loved as much as I do now.

10. Keeping It Moving
Q-Tip gets another Dilla-produced solo, in which he uses as an advantage to address his neutrality in the whole East Coast/West Coast rivalry, which was going on during the recording and release of the album. He says that there's no need of them beefing, and also replies to Westside Connection's diss at him. By the second verse, he tells people that hip-hop is never meant to be taken seriously, while also having a few bars which show off his lyrical skill. The beat is funky, as usual, coming from Dilla. Another one of my favourites!

11. Baby Phife's Return (feat. Consequence)
We finally get a solo from Phife, with Consequence on hook duties. Phife's lyricism is on point, coming with bars like "I'll have your brain goin in circles as my style tends to ovulate/I'm makin moves, never movies, that's why y'all MCs lose me" and "Ain't nuthin sweet, the bakery's across the fuckin street/Phife Dawg, swingin it back and forth just like Aaliyah". Cons is on the hook, reassuring the listener that Phife is nice on the mic, and give us hot fire! The beat is funky, got a slight rock sound. And the bars on here are sweet AF!

12. Separate/Together
No, this ain't a double track or anything, it's another solo interlude from Tip which is pretty motivational. He raps about fake people, society and how men and women should respect each other. I like the content and the bars on here, but damn, the beat is just wavey! Wish the song was longer, to be honest!

13. What Really Goes On
The previous track really transitions greatly into another Tip solo, in which he drops some knowledge on various topics, such as the East Coast/West Coast rivalry, which was "really going on" back in '96. He also raps about society and the Westernized world, along with wanting a woman. The beat is great, and the hook is freakin' catchy. Tip's rhymes are on point too. Overall, a great track!

14. Word Play (feat. Consequence)
A Dilla-produced gem, where Tip, Phife & Cons come through with some hot fire and give us their definition of certain words, in such a mesmerizing flow; with bars such as "Power. People really get caught with this on different levels/Power controls your life" and "Miserable (miserable) is what your whole crew will be/If you're not original and you show no strategy". Tip was pretty good on this, and he was dropping some knowledge. I was really digging Phife on this, he was spitting that heat. Cons also did his thing on here. And Dilla freakin' killed that beat. Damn, just too wavey!!! Love this song, one of my favourites.

15. Stressed Out (feat. Faith Evans & Consequence)
A great song, was the album's second single. Tip & Cons get a lot more serious and introspective, having a conversation about being stressed out and having problems to deal with. Faith Evans is on hook duties, and she kills it. While the song is pretty good, I was pissed that Phife's verse wasn't on this, and it was just Tip & Cons. While they both did their thing, especially Cons, but I always loved the version with Phife. If only they merged the two versions together, so I could hear Tip, Phife & Cons together. Still a dope song though!

Beats, Rhymes and Life is such a freakin' dope album. It's such a very enjoyable album, with dope ass production from J Dilla & The Ummah. The album sees Tribe and Consequence over dope beats, and dope rhymes. Unlike the previous 3 albums, the content and sound gets a little darker, and we hear Tip talk more about society and how the world is like. It's a lot different from their previous material, and most of the album doesn't sound like it's from the same group that gave us classics like "Scenario" and "Electric Relaxation". It's a lot more explicit that Tip has a few more solos than before, and some of the tracks on here are known not to have Phife on them. Speaking of Phife, his lyricism really improved on this album. He came through in a more aggressive and hardcore way than before. Most of the times, he was outshining his rhyming partners. He really took over a lot of the tracks he was on, especially "The Hop", "Word Play" and "Mind Power". Consequence really impressed me with his bars. At first, I wasn't feeling him as much, but I gotta be honest, he was hot on the mic. "Motivators" and "Mind Power" are prime examples of that. Tip was dope too, especially when he had a lot of solos. He was a lot more conscious and was sending an highly explicit message than before, having dark and serious songs like "Crew" and tracks like "Separate/Together" and "Keeping It Moving", which touched on society and the East/West Coast rivalry. The production on here is dope AF. Dilla was a monster on the boards. He killed every beat he took part in, especially "Word Play" and "Get a Hold". Overall, Beats, Rhymes and Life is great. No, it's not another Midnight Marauders, but they sure did their thing. The production is tight, the lyricism is great and ain't nothing changed but the vibe. Don't let the critics get you into believing the album is bad. It's pretty dope. Go and hear it for yourselves! IMO, a great album, which is pretty underrated by Tribe fans. Rank it 3rd place with Midnight Marauders and The Low End Theory being respectively 1st and 2nd place. An album, that never gets the respect it really deserves.

Recommended Tracks
The Hop
Word Play
1nce Again
Get a Hold
Separate/Together
The Pressure
Keeping It Moving
1nce Again

Nas - It Was Written

Released: July 2, 1996

Taking it back to the 90s, after some time of doing reviews of recent albums, and it's been almost a year since I reviewed Nas' classic Illmatic, which I did in July. So it's only right I continue where we left off.

When Illmatic was first released, it didn't really sell as much, not experiencing the bigger sales of most major releases at the time. This was due to Nas' shy personality and not involving himself in the promotion. He started to make appearances on other people albums such as Mobb Deep's The Infamous (on "Eye for an Eye (Your Beef is Mines)") and Raekwon's Only Built 4 Cuban Linx..., where he dubbed himself as Nas Escobar. Around the same time, he hired Steve Stoute as his manager, and after seeing the success of Biggie & Diddy, decided to take a more polished and commercial approach for his second album. He enlisted Trackmasters, who, at the time, were one of the hottest producers, gaining mainstream success, and also reunited with DJ Premier & L.E.S., who were previously on Illmatic.

July 1996 finally saw the release of Nas' second album, It Was Written. Preceded by the Lauryn Hill-assisted "If I Ruled the World (Imagine That)", the album is a departure from the raw and underground tone of Illmatic, and took a mainstream and commercial approach. The album has 15 tracks, featuring production from Trackmasters, DJ Premier, Havoc & Live Squad, and appearances from Mobb Deep, The Firm and JoJo (of Jodeci). The album has Nas experimenting with a theatrical mafioso concept under the alias of "Nas Escobar", having more elaborate and detailed production, and a subject matter of materialistic excess and other lyrical themes.

It Was Written received generally positive reviews, with many praising it for the storytelling, lyricism and delivery. It was also recognized for its production, praising Trackmasters for their dope beats. The album also proved to be Nas' most commercially successful album to date, debuting at the top of the Billboard 200 (in which it remained for four consecutive weeks, then in the top 20 for 11 weeks, with a total of 34 weeks in the top 200), selling 268k units in its first week. 2 months later, it was certified Platinum, and by 2001, had sold 2.13m copies.

But was it any better than Illmatic? Let's see...

1. Intro
The album opens up with a 2 minute typical rap album intro, which is about the slavery of black people that took place long ago. Starting with a slave rebellion, Nas takes the perspective of one of the slaves rebelling against his master, And also has a conversation with AZ about how he's back with this album, and how we're reaching the new millennium (1996 was 4 years until 2000 aka the start of the new millennium). It's a pretty interesting opening, and sets the mood, especially when Nas reflects on life and his career.

2. The Message
Like Illmatic, Nas begins to rap on the second track of the album, which really sets the tone of the album's mafioso concept. Trackmasters provides a sombre and emotional beat, sampling Sting's "Shape of My Heart", as Nas spits some hot fire and even takes a jab at Biggie. It's a track that really shows off his lyrical skills and is seen as a classic song from Nas, with lines like "Ninety-six ways I made out, Montana way/The Good-F-E-L-L-A, verbal AK spray". The first verse was amazing, but I was very impressed with the second one, as Nas raps about trying to get a guy to pay him, which ends up with him getting shot. After being in hospital, he attempts to get revenge, now he got his gun back. This song really set the album's tone very well, giving such a mafioso and gangster feel. Nas' lyricism was on point, and the instrumental was simple yet dope. 20 years later, and it still doesn't disappoint!

3. Street Dreams
This song sees Nas illustrating the mind-state of drug-dealing, and explains why kids growing up in the ghetto often choose this lifestyle. He interpolates Eurythmics' “Sweet Dreams” to set the mood about what the song's about, and provides 3 verses, which all deliver with great storytelling and interesting imagery, telling the story of selling drugs to survive. The beat, once again courtesy of Trackmasters is pretty chill and soulful, but at the same time, gives a dark vibe as Nas comes with the storytelling. Great track!

4. I Gave You Power
The best song on the album. I mean, 3 verses of Nas taking the point of view of a gun over a fire instrumental from Premo. If that ain't something, I don't know what is. But yeah, DJ Premier provides a dope beat for Nas to tell such an interesting story. He takes the point of view of an illegal handgun, who gets caught up in all the violence in Queensbridge. He was made to kill, but starts to get tired of what he's doing to people.
In the first verse, the gun is a child, who has been created to simply do what the owner says. He's been in the hand of many thugs, who use him for the "wrong reasons"; street violence instead of actual self-defense. Obviously, since the gun was only "young", he didn't really care.
But the second verse focuses more on adolescence, as the gun starts to explore new things about himself, creating his own perception of things. Nas comes through as he raps "My abdomen is the clip, the barrel is my dick uncircumcised/Pull my skin back and cock me", and the gun explains how he's been used in robberies and killed so many people, not knowing he was bringing harm and evil into the world. The gun was stashed away with other weapons, and met a Tec-9 who wanted to be used properly instead of for violence.
But the third verse was arguably the best, and even was The Source's Hip-Hop Quotable in January 1997. The gun is now an adult, spending time with the other weapons. After being stashed away for a long time, the owner gets the gun and tries to get revenge on the person that beat him up. When he pulls the trigger, the gun stops him to shooting as it "felt wrong" and was sick & tired of all the violence. The opponent, however, pulls out a newer model of the narrator gun and was the first to fire. The owner died, with the gun not hearing the bullet coming. He was happy and relieved that he was free from his owner, until a new owner came, starting the cycle of violence again.
The song is just amazing. I loved what Nas did with this track, and it was very interesting as he personifies the gun. The beat is just amazing, Premo didn't disappoint. And this was one that showcased Nas's storytelling skills and his sick lyricism.

5. Watch Them Niggas (feat. Foxy Brown)
A smooth but dark jam from Nas, with hook duties from Foxy Brown. This one is, however, a song of betrayal, which sees an anonymous person, addressed in the second person (perhaps the listener or even Nas himself), betrayed by his crew and his women. The chorus manages to stick the whole thing together, being a reminder to be careful of the people around you, that may be fake and dangerous to be around. Nas' three verses are pretty good, and create an interesting vibe. The first delivered, with the second managing to showcase Nas' mafioso lifestyle. This sets the mood for the third verse, where Nas raps about how his "friends" kidnapped his girl, asking where the drugs were. Foxy really sounded great on the hook, and it made me wish she came through with one too. She could've killed it! But I love this song. The smooth instrumental, the storytelling, the hook and verses from Nas. He really delivered, and impressed me.

6. Take It In Blood
One of the most complex songs Nas has ever recorded as he raps about his mafioso lifestyle and also how it's like in Queensbridge. Live Squad, Lo Ground & Top General Sounds sample a classic Ultramagnetic MCs track, along with a Fantastic Four track (no, not the Marvel team), providing a sick and laidback beat, with drums that are pretty retro. Nas once again delivers with 3 verses, and they're great and impressive, as he comes with the storytelling, along with the hot bars and lifestyle raps. Another highlight.

7. Nas is Coming (feat. Dr. Dre)
A song that caused controversy, due to it being released at the time the East Coast/West Coast beef was happening. Nas raps about his lifestyle, coming with dope lines, while Dr. Dre gets on the boards, and also does an opening skit with Nas, creating a decent g-funk instrumental. I never really cared for this song tho. It's a decent track, but in my opinion, the worst track on the album. Nas's lines were pretty good, and the beat was alright, but overall, the song didn't do justice. Anyway, on to the next one.

8. Affirmative Action (feat. The Firm)
The classic posse cut introducing Nas' supergroup The Firm (AZ, Cormega & Foxy Brown). Each member comes through with a dope verse, as Dave Atkinson & Trackmasters provides a killer beat. AZ started the song off with a raw and ill verse. Cormega continues very well, with some very nice lines. Nas, as usual, killed it. And Foxy Brown really surprised me. There was a lot of diversity, in terms of delivery, and everybody was so dope on this track. The beat was dope AF, and had such a raw vibe. This shit always gets me bumping my head non-stop. Love this track!

9. The Set Up (feat. Havoc)
Havoc of Mobb Deep jumps on the track for hook duties, and also produces such a raw and killer instrumental, as Nas tells a story about how he tried to get revenge on his friend's murderer. His 2 verses delivered, like damn, and it really got me interested. Hav's hook was sick, especially with the delivery, but it sounded like a verse more than a hook. But forget that, can we just applaud the fawkin beat?! Havoc's production game was really strong AF back in the 90s, like damn. This nigga created 2 classics. 2 MUTHAFAWKIN CLASSICS, BRUH!!!! The Infamous AND Hell on Earth. SHEIT, man! Nevertheless, this song is pure heat! One of my favourites.

10. Black Girl Lost (feat. JoJo)
JoJo of Jodeci hooks up with Nas on such an emotional track, where Nas tells a story about a black girl, who has lost her way. According to him, she used to be just a pure innocent girl, but now she has gone bad; doing drugs, drinking and sleeping around and more. He knows that she's better than what she's doing, and is trying to survive and be happy; but at the same time, knows that, at the end of the day, that she'll end up being alone and living up to your typical Black stereotype. It's a very interesting track, with Nas coming with the dope storytelling, and JoJo with the great singing. Another great song.

11. Suspect
L.E.S. provides a gritty boom-bap instrumental, as Nas tells a story about a murder, along with various topics such as clothes and money (and deeper themes which are hidden). He manages to come with double/triple entendres and ill lyricism such as "Hey, me no worry, hashish keep my eyes Chinese/Roll the two Phillies together, make blunts Siamese" or "Decipher my deceiver make him a believer/Spitting gem stars, words in my mic type receiver". L.E.S.'s instrumental is just amazing and too dope. That gritty, grimy vibe as Nas spits that heat. A standout on the album!

12. Shootouts
In this song, Nas does what he does best: telling stories. This time, he tells 2 vivid tales about being a murderous thug in Queens. And damn, does this shit delivers! So raw and dope. The first verse sees Nas & his younger brother Jungle attempting to kill a notorious vigilante cop in the area. But the second verse is pretty much what the title is: an actual shootout that happens as a result of gambling. Trackmasters return again with such an ill instrumental, which doesn't disappoint. Nas's storytelling was great, and he really did his thing with it. Another highlight!

13. Live Nigga Rap (feat. Mobb Deep)
Nas, Prodigy & Havoc. Don't tell me you weren't expecting heat just from those names. This song is straight heat. One of the best tracks on here. A sick beat from the one and only Havoc and 3 killer verses from everyone. Everybody all did their thing. P was dope with his verse, and Hav really continued it well. But damn, Nas really snapped on this one. You can tell this was an outtake from Hell on Earth, it sounds like it and even Prodigy said it was. The beat, the flow and vibe. It was a good decision for it to be on here though, Nas really took over this track, even if it sounded like it was Mobb's at the first time. The beat is just... OOOOO. And the lyricism is on another level. Classic shit!

14. If I Ruled the World (Imagine That) [feat. Lauryn Hill]
The album's first single, which was based on the 1985 hit of the same name by Kurtis Blow. Lauryn Hill comes through for hook duties, as Nas raps about how the world would be like if he ruled it. Trackmasters & Rashad Smith create a dope throwback instrumental, and the two complemented it very well. Nas's content on this track was amazing, and his flow and delivery was on point. I'm still mad that Lauryn didn't spit on this track. This song was meant for her! I can imagine her just providing a classic verse. I still love this track though. 20 years later and it still bangs!

Final Thoughts
It Was Written has to be one of Nas's best works yet. Illmatic was a classic, but It Was Written actually managed to deliver as much as Illmatic did. The album was fire, from start to finish, and sees Nas go through a more polished and commercial sound, introducing a new alter ego, and telling interesting stories, mostly relating to his drug-dealing and violent lifestyle in his home of Queensbridge. The feel of the album was something pretty intriguing, encompassing the genre of mafioso rap: dark rhymes, quality storytelling, dope & dark beats, all from such a great MC! The production was just as solid as his previous album, getting DJ Premier and L.E.S. back for some more dope beats, along with some others. Premo killed it on "I Gave You Power", and L.E.S. did his thing with "Black Girl Lost" and "Suspect". Havoc provided 2 gritty ass beats with "The Set Up" and "Live Nigga Rap". And Trackmasters were beasts on the boards, coming with the fire instrumentals for "The Message", "Street Dreams" and "Shootouts". Unlike Illmatic though, which only had AZ as a guest, this album gets a few more people. The Firm come together to create such a raw and fire posse cut with "Affirmative Action". Foxy Brown was good on hook duties on "Watch Dem Niggas". Lauryn Hill sounded great on "If I Ruled the World (Imagine That)", but I wish that she had a verse. And damn, Mobb Deep killed it on "Live Nigga Rap", with Havoc providing a solid hook (that lowkey felt like a verse) on "The Set Up". Overall, I love this album. This is worth your money! A lotta people regard Stillmatic as his second best work behind Illmatic (obviously), but this is better IMO. It's just as good as Illmatic, his storytelling was amazing and he was so consistent with the heat. A classic in my eyes!

Recommended Tracks
Live Nigga Rap
I Gave You Power
Affirmative Action
Shootouts
The Message
Street Dreams
Suspect
Every track on here is a standout (apart from "Nas is Coming")