More Reasons Why Being Deaf Sucks/Rocks

(A quick to note to anyone who sent me some feedback during this last week; I’ve been doing a lot of writing and haven’t had the time to fully respond back. But I should be back on track by Saturday so I’ll get back at you starting then.)

That teaser works on so many levels. On one hand it refers to the column itself; one of the hazards of actually have a weekly column that’s assigned a day is that the column has to be there no matter how “not in the mood to write” you feel. The result is the column that you’re about to read.

On the other hand the teaser refers to the column itself, which features three album reviews. (I know, I know I said “many levels” and it’s really only referring to two layers of the same column. It’s called; a stretch.)

Mathan Responds To Pac’s “Alleged” Fans

Before I get into the ugliness let me just address one thing; my Tupac column. I want to thank everyone who responded. That said, I got exactly one piece of hatemail. Most of the feedback was from people who supported, if not what I said, then the fact that I stood up and said it.

Why am I bringing this up? Because I know for a fact that Aaron Cameron got more email expressing outrage about what I wrote than I did. I’m not saying that I wrote it just to get hatemail, but I’m saying that if you have a problem with what I wrote, tell me about it. Now maybe where those Pac fans are from it’s acceptable to have someone else fight their fights for them. It might even be commendable for one to not stand up for their beliefs. But around my way that’s called being a punk. To me it’s sounds like those folks aren’t so much about “Ride or Die” but rather “Ride Around The Corner and Let Me Out.”

Musical Selections.

(See you were expecting me to talk about Hip Hop in 93-94 or maybe defend sampling. Well I’ve got news for you; I have a problem with authority and with anyone telling me what to do, even myself. I’ve also got a problem with expectations. I don’t like ’em and never even try to meet them. That’s just how I am. I’m sorry. But maybe I’ll write about that other stuff next week.)

I present to you some reviews. I suppose that this is representative of my taste in Hip Hop, but bear in mind; it’s been a really slow year. These are just my thoughts on some of the albums that I’ve purchased in 2004. I’ve tried to be diplomatic, and not needlessly thrash, just on the off chance that anyone takes my opinion seriously.

Kanye West – The College Dropout
Roc-A-Fella

Kanye West has generated quite a bit of buzz around his debut album The College Dropout. He recorded his first single, “Through the Wire,” while his mouth was wired shut after a horrific car accident. He paid for the video for that single with his own money. He is also a very much in demand producer of several Top-40 songs: Twista’s “Slow Jamz” and Alicia Keys’ “You Don’t Know My Name.” For once, an album lives up to its hype.
West walks the fine line between socially conscious rap – like that of Common, Talib Kweli and Mos Def – and the Big Willie style of rap, like that of Roc-A-Fella cohorts Jay-Z and Cam’ron. On the Ludacris-assisted “Breathe In Breath Out,” Kanye details how he plans to run through his money. Yet on “Never Let Me Down,” featuring Jay-Z, he laments the fact that blacks “can’t make it to the ballots to choose leadership, but we can make it to Jacobs and to the dealership.” That’s pretty deep stuff in the election year of 2004.
Kanye provides a unique voice in hip-hop, that of a college-educated, middle-class black male. He doesn’t pretend to be from the streets and actually details what it’s like to work at the Gap. Of course, a hip-hop album without disrespecting women would really stand out. Unfortunately, Kanye devotes an entire song to how to get a woman in shape.
Kanye not only rhymes on the album, but provides the beats as well. He’s a better producer than MC, but his rhymes aren’t lacking and show occasional divinity. While The College Dropout is saddled with guest stars, Kanye holds his own against giants like Mos Def and Talib Kweli.

Lloyd Banks – Hunger For More
G Unit/Interscope

As everyone should know by now, Hip Hop’s first Commandment is “Thou shalt puteth down your homeboys.” Every successful MC dutifully follows this commandment with results ranging from mediocre to miserable. Enter Lloyd Banks.

Banks, protégé of 50 Cent, had build up quite a buzz with his numerous mixtape appearances and tracks on the G Unit album. XXL magazine even declared him heir to the throne of King of New York. That’s what makes his debut, “Hunger For More so disappointing, it doesn’t live up to the hype.

Let’s start with his lack on creativity. If you try hard enough you can actually hear executives pitching this disc. Song devoted to weed? Check (the ingeniously titled “I Get High.”) Song about how dope you are? Check (the equally imaginatively titled “I’m So Fly.”) Song proclaiming your affiliation with a group? Check (the obviously titled “Ain’t No Click.”) Hm, it needs more allusions to the ‘hood and things of a gangsta nature (every other track on the album.)

Then there’s Bank’s charisma. Oh, wait he has none. Throughout the album his inflections range from “possibly mildly entertained” (or angered, I can’t tell) to “maybe slightly saddened, a bit.” Banks has the personality of paper bag, and not one with a store logo on it. I’m talking your run of the mill liquor store can of beer paper bag. And he seems to have an equal amount of depth.

Banks does have some clever punch lines. He describes a person’s head as “looking like the top of a pistachio.” He has gems like that sprinkled throughout the album. The assortment of producers on the album features your typical names. Timbaland, Havoc and Hi-Tek each produce one track. The other notable producer Eminem produces two tracks, both of which actually sound decent.

There aren’t too many guest stars on the album. G Unit members Tony Yayo and 50 Cent show up, as do fellow Interscope artists The Game and Eminem. Nate Dogg and Snoop Dogg also appear. Every artist is a breath of fresh air that listeners will savor, because they don’t have to listen Banks’ monotone flow. And Nate Dogg contributes perhaps the most memorable line of the entire album at the end of “Warrior Pt 2.”

The irony is that with a debut titled Hunger For More, Banks lack of emotion seems to belie a lack of any drive whatsoever.

Slum Village – Detroit Deli
Capitol

On their third release, Detroit Deli, Slum Village returns with only one original member T3. Back for his second time around is the talented Elzhi. Gone are J-Dilla and Baatin (who suffering from schizophrenia.) Yet despite all the turmoil Slum Village has the biggest hit of their career with the Kanye West assisted “Selfish.”

Detroit Deli is both a return to form and a departure of sorts. While T3 and Elzhi return to the more fun loving subject matter found on Slum’s debut Fantastic Vol 2, the album is littered with attempts at crossover appeal.

In 2004 there is no surer way to ensure radio airplay than to have Kanye on a song, and that’s just what SV do with their lead single “Selfish.” It’s both catch and clever, it’s also inescapable. However SV do win points for trying something new with “Things We Do” where they rhyme over a track that can only be described as cacochaponous

The album is also full of guest appearances. In fact only three tracks don’t feature a guest, including one skit. MC Breed, Dwele, and Melanie Rutherford are all featured on two tracks apiece. The guest shots range from great (J-Dilla returning to the fold on “Reunion”) to disappointing (Dirt McGirt AKA Ol’ Dirty Bastard contributing only to the chorus of “Dirty.”)

Women are the focus of many rhymes. “Count The Ways” describes a romantic evening, or at least as romantic an evening as Slum Village can muster up. “Reunion” features group members, current and past discussing inner turmoil and reassuring listeners that everything is still cool. Noticeably absent on the track it Baatin, who upset at being expelled from the group.

Lyrically SV is at the top of their form. T3 and Elzhi are both wordsmiths, and more importantly have great chemistry. They are actually fun to listen to. With the exception of two tracks Young RJ and Black Milk produced the entire album, and it has an easygoing vibe. They build upon the established sound that J-Dilla created on Fantastic Vol 2, and create a sound that remains true to past yet accessible to new listeners.

Detroit Deli is a remarkably solid album considering the events surrounding it’s release.

The Pharcyde – Humboldt Beginnings
Chapter One Entertainment

Y’know not too long ago I used to laugh at all those rock fans who bemoaned when members of their favorite band would try to carry on the band name with new members. I used to point my finger and mock them. Karma is a beast.

The Pharcyde have returned with Humboldt Beginnings. They aren’t the same Pharcyde you probably remember. Gone are Tre and Fat Lip, the latter who left during their ‘90s heyday. Bootie Brown and Imani triumphantly carry on the Pharcyde name with two new members, Schmooche (who actually appeared one the last proper Pharcyde release Labcabincalifornia) and SpaceboyboogieX. As usual, a change in line up isn’t a good thing.

By looking at the cover of the album, which prominently features marijuana, you begin to get the idea that perhaps this will be a reoccurring subject. And with titles like “Bongloads II,” “Homegrown” and “Mixedgreens” you basically prepare for the worst. “Homegrown” the intro is a spoken word piece that extols the virtues of, weed. But the album does get better.

“Rules and Regulations” is inspired by Notorious B.I.G.’s “Ten Crack Commandments” and details the way to be a better dealer. “Mixedgreens” is a nice laid back song with a chorus that hints at southern heritage. All of the interludes (which seem to be inspired by the work of The Beatnuts) are odd; yet catch your attention, especially the light and lofty “Clouds.”

But sadly those sometimes-humorous interludes are the only glimpses of Pharcyde’s former self. For the most part the comedy found in earlier albums, is nonexistent here. SpaceboyboogieX produced much of the album, which has a unique sound, but not “the Pharcyde” sound. And sadly Schmooche’s voice and rhymes stick out like a sore thumb, which breaks the illusion of a cohesive effort.

Overall if this album didn’t have the Pharcyde name on it, it would have sounded much better. But as much as the Pharcyde name has recognition it also has expectations and this is one album that sadly doesn’t quite live up to them.

Young Gunz – Tough Luv
Roc-A-Fella
In hip hop, it’s not a promising sign when the song specifically designed to appeal to the ladies and the airwaves is the only decent song on an album. It’s equally discouraging when the guest star outshines the MCs. Sadly, in the case of the debut album from Philly rappers Chris and Neef, aka Young Gunz, both instances are true.
Tough Luv is a very tough sale. Calling this album stagnant would be like saying the Passion of the Christ has a little controversy around it. There’s nothing on this disc that you haven’t heard 100 times before and 1,000 times better. Young Gunz’s rhymes stick to the typical hip-hop themes of crime, women and braggadocio — only with no real spark or flair.
The majority of the tracks are produced by newcomer Chad Hamilton, who leaves little impression on the eardrums. Superstar producers Just Blaze and Scott Storch also contribute beats. Yet apparently the Young Gunz couldn’t afford the high-end beats, since the songs are mediocre. But that could also be due to bland rhymes.
Since it’s a Roc-A-Fella release, the usual suspects (Jay-Z, Cam’ron, Beanie Sigel, Juelz Santana) are there. Unfortunately, these stars only got involved as a favor to the label; they sound as if working on the project sucked the life out of them.
While “No Better Love” and “Friday Night” show promise, they’re bogged down by the Gunz’s boring flow — or lack thereof. And “$$$ Girlz” makes the unfortunate mistake of sampling the Hall and Oates classic “Rich Girl.” (It sounds worse than you can imagine.)
In sum, Tough Luv proves that the Philly sound is dead. The future of Roc-A-Fella records hasn’t looked this grim since Jay-Z announced his retirement. Don’t buy this album. I mean, unless you’re trying to get back at your ex girlfriend, and putting it on her credit card.

Good news! You’ve made it to the end of another column. Hopefully this will teach you that when I say “caveat emptor” I mean it. But here are some other reads that are full of quality.
The aforementioned Aaron Cameron blew my mind with the concept of baby pigeons.

Jeff is the bravest guy I know. Not just because he makes a 9/11 crack. Nope it’s because he’s still eating food he brought back with him from Britton”¦in June!!!

Botter proves that brevity is, um, something.

I’ll be honest; I didn’t even notice Gordi there. But he’s got the courage to write about classical music. If you read him your IQ will go up.

Even two days laterGloomchen is a tough act to follow. She’s an amazing writer who has me completely in her sway (sorry Ryan T. Murphy.)

Dana’s back! You know what that means; Ozzy’s in the news.

Joe tackles Britney. Am I being literal or figurative?

Tayo and Jim and Ian
and MSD and Phil all form like Voltron. It’s really quite a sight.

Five Songs I Can’t, For The Life Of Me, Get Out Of My Head (Pity Me)

1. Maroon 5 – “She Will Be Loved”
2. Avril Lavigne – “My Happy Ending”
3. Ciara feat. Petey Pablo – “Goodies”
4. Scissor Sisters – “Take Me Out”
5. Ashlee Simpson – “Pieces of Me”

Five 2004 Albums I’m Still Looking Forward To

1. Nas – “Street’s Disciple”
2. Talib Kweli – “The Beautiful Struggle”
3. Mos Def – “The New Danger”
4. Joe Budden – “The Growth”
5. Styles P. – “Time Is Money”