DJ Muggs - Soul Assassins Chapter 1 (March 4, 1997)

 

Told y'all since my very first review on this site: I'm not gonna be the most prolific writer in the world.

Welcome back to my continuation of my grueling attempt at finishing the Soul Assassins run I have in mind. I'm currently aware that I haven't written about these dudes in a few years. So there's that elephant addressed.

1995 came and went. The Soul Assassins brand, established by Lorenzo Cavassi aka Larry Muggerud aka Grandmixer Muggs bka the legendary DJ Muggs of the iconic Cypress Hill, has been experiencing somewhat of a downturn. First, fellow Hillmate Sen Dog was experiencing severe burnout which was fucking the Hill's dynamic up big time. Then, Muggs was trying ad failing to establish a collective from Harlem, NY by the name of Call O' Da Wild, comprising of Barron Ricks and Chic Moleek. Yeah, unfortunately it wasn't happening, even though the music was flames. (More on that later) Top it off, Muggs caught feelings because fellow Soul Assassins lynchpins House of Pain wanted to make their 3rd (and final, unbeknownst to everyone) album on their own, ignoring the fact that said album wasn't really a House of Pain album in the truest sense because Danny Boy was damn near MIA. Muggs quickly slapped himself outta that funk and entered his usual proactive state: He was gonna further the Soul Assassins brand no matter what, even if he had to do it for dolo.

Which he did.

Alright, it was never gonna be that straightforward. Muggs caught on to what Erick Sermon was doing with his Insomnia compilation in 1996 and realized that that's how he was supposed to do it: Follow the Marley Marl blueprint. Only he needed to call in a few favors to make sure the album reception was ideal. So he basically opened up his phonebook (Gasp! Remember those?!) and called in a favor from a who's who of the popular rap acts of the day. Y'know, alongside fellow Hillmate B-Real cuz we can't have a DJ Muggs album without B-Real, can we?

Soul Assassins Chapter 1 was released in early 1997 and, while it did well, Columbia wasn't happy enough to issue another, forcing Muggs to turn elsewhere for the future entries.

But was it any good? Find out, boy/girl (pick one):

THE TIME HAS COME

Not gonna front, Muggs is solely responsible for my exposure to Ralph Bakshi, noted eccentric animation director, through his samples of the movie Wizards, from which many of Muggs' early signature soundbites were taken. That being said, this is still an instrumental intro. Skip.

PUPPET MASTER (DR. DRE & B-REAL)

You read correctly: Andre Rommell Young, fresh outta his widely-publicized Death Row exodus, was desperate at this time to find the next creative lane he was going to inhabit. Read: Them checks weren't hittin like that no more, so he links with Muggs and a very dialed-in B-Real. Muggs chefs up a live interpolation of one of the Bomb Squad's fine soul loops for B-Real and whoever wrote Dre's bars to get busy. And get busy they did: This shit is napalm! Dre's verse has a reference to how people looked at the late icon Michael Jackson in the 90s. Like it or not: In the 90s, the man wasn't as popular within the black community as he was in the 70s & 80s. B still made his presence felt in a manner that's undeniable:

We're pullin strings, killin kings

Countin all pinky rings, seizin control of the whole game

I took a pull from the blunt, inhaled and blew the smoke from my lungs into the world of hip-hop

Civilians turn into soldiers by the millions

Assassins, we multiply, by the masses

Masters of the game

Every move you make through manipulation is the move I choose for you to take!

You see, what I want you to see

And you turn into whatever I want you to be

Whether it be, enemy or ally

The Aftermath results in Soul Assassins, worldwide

From coast to coast, I got soldiers on post

Injecting you with the high funk overdose

Dre and the Hill, stayin' Real

All you non-believin' ass figures, get your cap peeled

Executive order make your time shorter

Get your recorder, play it back, puff your chronic sack

Your mind, body and soul have been captured

And taken captive by the motherfuckin' puppet masters!

DECISIONS, DECISIONS (GOODIE MOB)

Muggs heads to the Dungeon where Goodie Mob oblige his call to violate this grimy funky instrumental. This is the song where CeeLo Green established that he had bars if need be, as he lays claim to the coveted Source Hip Hop Quotable of April 1997. His fellow Mobsters sure did bring it, but CeeLo wasn't to be denied here. This song serves a special purpose for me personally, for it was my personal introduction to the Dungeon Family. It was through Goodie Mob that I was introduced to OutKast! This ain't the first time this happened, either, as Mobb Deep introduced me to Nas, Method Man introduced me to Redman, etc. I guess living in the motherland had to come with a price.

THIRD WORLD (GZA & RZA)

DJ Muggs reconnects with the Wu for the second single of this producer compilation and I must say: These two camps mesh well! Muggs recreates the ethereal feeling RZA invoked when he produced Killa Hill N****s off Temples Of Boom with the classical music intro into this battle-themed track, but you'll find that Muggs produced a superior bloddpumping beat once it kicks in and you hear someone's muffled speak in the background. That's when, boy/girl, GZA swoops in with a contender for the best verse he's ever written outside of Wu-Tang Forever. No, seriously:

Via satellite from the Wu-mansion

Still branchin' off the tree that sparked any MC

And the fruit that fell far was the ripest

It was Cypress, let the media hype this

Promotion figures snipe this

Push it like tray bags of 72

Kept figures in suede rags

Microphone psycho, who flips the mic so well

Held without bail, in jams packed like jail-cells

There's no escapin' once my blade starts scrapin'

Figures flakin', wannabe MC's is shakin'

My sword indeed make more figures bleed

So swift, naked eye couldn't record the speed

I lost ya with that offer, figure that'll cost ya

Feel the strings of torture

Must've been the half-gal

That's the shit he drinkin' that got him thinkin'

That he could trash the ship and get me sinkin'

I told him, "Come back when you're sober"

Drunk-ass punk, on the motherfuckin' Hunt for Red October

Don't even catch me when I'm blunted

Rhymes start runnin' like loops on a SP-1200

Instruments of terror on warship, its corporate

Visual figures paint portraits

RZA injects himself into the proceedings with a verse that's passable and makes do with the right delivery and flow which also serves as a message for an unknown recipient ally. Muggs is not playing around here as this is clearly intended as a medley with the next track!

BATTLE OF 2001 (B-REAL)

B-Real involves himself in the intro to this track as the officer who receives RZA's message from the previous song and then describes in rhyme form the attack on the base he's commanding for a brief few bars when his transmission is cut indicating their defeat. Then, Muggs includes a short outro where you hear an announcement of martial law where "all constitutional rights have now been revoked". Eerie conclusion.

DEVIL IN A BLUE DRESS (LA THE DARKMAN)

Back to regularly scheduled hip hop, we find our old pal La The Darkman, who debuted a year earlier with the I Want It All promo single on Big Beat which went nowhere, receive his first real exposure to the masses with this timeless masterpiece of a song. As I've already stated here, La makes his shot with a haunting Muggs instrumental count with his greatest solo performance yet:

I'm from a long breed of stick up kids, coke and hustlers

Gods, foreign cars, strong arm tec' tusslers

The streets got me in a hole chin-deep

Quantum leap, a bum told me life is cheap

My lyrics dancing lamping eating fish in a Wu mansion

A park place I'm advancing and only my wiz I'm romancing

Posted, all you chicken figures get roasted

I read manuscripts in 97 whips, Ls is toasted

I said something, I meant it

Your Benz'll get dented

My guns get more open than a envelope with money in it

Where I live it's only crack, fiends and dirty jeans

Shorties on the block with the platinum drug dreams

Everything an hour seems, I got bagged at 14

On a highway running guns outta New Orleans

It's La, what you think them figures trembling pink

Stumbling, you a cat that turn tough when he drink

Keeping you lifted, reminisce on what Chris did

Pull out the mac and shot five cats and a civilian

Right in front of the building with kids playing, shells is spraying

On the second floor Shelly moms praying

Got caught by a stray in a window in broad day

And she died, fucked up it had to be that way

It was a drunk figure who done it

Simply arresting!

HEAVY WEIGHTS (MC EIHT)

Compton's Most Wanted frontman MC Eiht continues his fruitful collaborations with Muggs and this song further proves that this man is simply more comfortable on East Coast sounding beats, which Muggs is more than happy to provide! He blazes through Muggs' string-based beat with ease. Props for Eiht interpolating the late Craig Mack's hook from his MC EZ & Troup b-side Get Retarded in the background a year before LL & Dre would do so on Zoom. Dope song! This wouldn't be the last time Eiht & Muggs connected as their fruitful collaborations keep dropping in the 90s. Moving ahead.

MOVE AHEAD (KRS-ONE)

Well damn, KRS! Don't you want the review to shed light on your song? No? OK.

Seriously, you can feel Muggs excitement at working with the hip hop icon as he cooks a bloodpumping instrumental which KRS, still in his prime, absolutely shreds to ribbons. I always respected the fact that KRS, when not referencing some asinine quasi-spiritual bullshit, had the ability to interweave lyricism with subject effortlessly and this song may be his best example yet as he tackles the hot topics of the time: Region bias, selling out, dumbing down, etc. You will love this track. KRS & Muggs go on to connect a further two times and it's all thanks to this song.

IT COULD HAPPEN TO YOU (MOBB DEEP)

Way before current production darling The Alchemist ever established the fruitful relationship with Mobb Deep that shot him to superstardom, the seminal NY duo connected with Muggs to complete this gem here. And best believe you're getting the prime Mobb Deep experience as Hav & the late great P utterly violate Muggs' apt tribute to their sound. That's another thing that doesn't get mentioned enough about what Muggs is doing on this album: You'll find that each song so far has established Muggs' identity as a production powerhorse while simultaneously staying true to the identity of each featured artist.

LIFE IS TRAGIC (INFAMOUS MOBB)

After another obscure sample from a classic 1930s movie, Muggs turns to the Mobb's fam Infamous Mobb, comprising Twin Gambino, Godfather pt. 3 & Ty Nitty, where he commissions yet another faithful Mobb-esque instrumental. And the trio respond by pretty much shitting all over the opportunity: Ty sounds straight up unintelligible. No surprise there as he has always been the worst member. Twin disappoints with a subpar verse that, while housing genuine emotion, fails to meet his standard that he set on songs like All Pro & Animal Instinct. Godfather pt. 3 or Trip has always been the anchor of this crew, and while he brings a competent flow to close proceedings, it's not enough to save this from being a designated smoke break on the album. Next.

NEW YORK UNDERCOVER (BARRON RICKS)

And here, boy/girl (pick one), I finally get the chance to talk about one of my favorite underground shelved rap acts ever: Harlem's own Call O' Da Wild, comprised of Barron Ricks and Chic Moleek. These two, well... mostly Barron, had a short tenure of 3 years under DJ Muggs where they made some timeless music, but we'll get to that later. On this track, Muggs lays down a sparse, sinister piano loop that allows Barron to unload. And the moment you hear him, you realize he sounds almost exactly like Prodigy and yet still retains his Harlem cadence. They somehow make it work. This only serves as a painful reminder of the potential that was wasted when their debut LP got shelved.

JOHN 3:16 (WYCLEF JEAN)

The album closer for the US edition features none other than the Refugee Camp all-star himself. Now, Clef being ambitious ain't new, but damn can it backfire in the worst way possible. Muggs flips a classic pop rock sample in a manner that was supposed to aid Clef in giving a sermon on street morality. It also showcases how much Muggs was influenced by Havoc's production. Clef was clearly aiming for a dramatic & theatrical feel, singing and rapping about biblical retribution and the struggles of the "field". Problem is, Clef is way too scatterbrained with his writing to establish any form of cohesion. Production value by Muggs is undeniable but it pains me to say: Skip this barf.

RUNNIN WILD (BARRON RICKS)

The first of two tracks exclusively released outside of the US, Muggs would later reuse this beat for the lead single of the aforementioned Grandmasters project with GZA, although this piece stands perfectly on its own two. Barron Ricks absolutely devours this soundscape, abandoning his Prodigy impression completely and proving once again how much he was the unsung predator of the Soul Assassins camp at this time. Any Muggs fan owes it to themselves to hear this.

THE LAST ASSASSIN (B-REAL)

Second outside-US track, although this one was strictly a Japan exclusive. I swear Japanese hip hop fans had it good. This is quintessential Cypress Hill chemistry: Muggs provides a haunted cathedralic soundscape for B to eschew existential poetics about life in a gangbanging environment, from initiation in verse 1, the come up in verse 2, and loneliness in verse 3. This track, like many Cypress tracks before it, flies in the face of any naysayer who can't seem to get past the superficial stoner image & nasal tones they exhibit. Fantastic way to close the album out.

FINAL THOUGHTS

Looking back, Soul Assassins Chapter 1 is more than just a compilation; it's a manifesto. In 1997, while Comby was busy whoring himself out with the cheapest 80s pop loops and violating the LOX by forcing them to acquiesce to his shitty whims, Muggs chose the Marley Marl route by piling a list of his favorite rap acts and making magic with each one, creating a sonic underworld that was cohesive enough to house Dr. Dre, Goodie Mob, KRS-One & Mobb Deep under the same roof without any of them sounding out of place. This album marks is an indelible entry in DJ Muggs' "Cathedral Era" and remains one of the best producer-led projects in hip-hop history. It’s consistent, it’s moody, and aside from missteps with the Infamous Mobb & Wyclef, it’s wall-to-wall timelessness.

WORTH IT?

You bet your doughy and warty posterior, boy/girl (pick one). This is mandatory listening for anyone who claims to love hip hop. If you don't have this in your collection, you probably listen to NLE Choppa. Have fun explaining why him & NBA YoungBoy matter to people who won't believe you

TRACKS TO TRACK DOWN: Since we touched on Call O' Da Wild, you'd be a fool not to dig for the scraps of their shelved legacy.

INTELLECTUAL DONS
Even though this was the b-side to the Ruffturrain promo single, I heard this first. Judging by the eerie violin loop that still manages to preserve a soundscape festive enough for a rap song, DJ Muggs seemed to have an affinity for the church aesthetic when producing music for street acts back then. And Chic Moleek takes full advantage of that opportunity by coming completely unglued on this entire song: He bookends a lone verse from Barron Ricks (who's obviously playing catch up) with two verses chock full of unorthodox flows that you can't help but rewind the songs multiple times. I still fail at repeating either of Chic's virtuosic displays

RUFFTURRAIN

This was supposed to be the single that put Call O' Da Wild on the map. Alas. DJ Muggs loops a brilliant psychedelic raga rock classic and somehow manages to make it sound impressively adjacent to the trance-induced Sanskrit vibe that prevailed on Temples of Boom. Barron Ricks was clearly intended to be the star of the duo as he's the one who remained upholding the flag, and he's the one who bookends Chic's lone verse on this gem.

ANDREWS AVE

When a producer loops something without programming the drums due to the percussion on the loop being more than enough? That's OK. It's that complete absence of percussion that pisses me off. Thankfully this unheralded short storytelling monolith is the former. Ricks & Leek tag team this jawn one verse apiece something proper with a short horrific tale of vengeance. This is somber in retrospect as it perfectly illustrates what Muggs could've done with these two had the deal materialized right.

URBAN WILDERNESS

Another loop with the percussion integrated within, this one sounding like Muggs' own hip hop tribute to Ralph Bakshi's cinematic visions. Ricks & Leek turn on the imagery switch to 100, with Leek naturally exhibiting his unique flow that still mystifies me. Flow changes like a chameleon, word to Masta Killa!

NINTH SYMPHONY (FEATURING B-REAL)
This should've been the triumphant victory lap for everyone involved. A menacing, bloodthirsty Muggs beat & three very hungry MCs. The mixing ruins any chance for anyone to decipher the verses spit here. A real shame because it sounds like B & the Call were really going in. I still somehow get a helluva kick outta bumping this.

And after damn near four years, we're done! For more on the Soul Assassins, click their name, BITCH!

Cormega - Mega Philosophy (July 22, 2014)

This is the last time I'm importing a review from my mentor Max's Hip Hop Isn't Dead blog. I promise only all-new content from now on.

Quick question: How many rappers have caused you to change your mind about their work? We're talking a shift from, "Oh, he's absolute cow dung!" to, "God DAMN, this dude can spit!"

Ever since 2009, I can confidently say that Cory McKay, who joined a lucha libre stable under the name Cormega, has changed mine.

For years, Cormy has struggled under the shadow of his former foe Nas: his then-disagreement with Escobar resulted in him getting mysteriously kicked the fuck out of the hip hop supergroup The Firm, whose remaining members (AZ, Foxy Brown, and Nas, obviously) then rushed to sign with Dr. Dre, Ph.D, who replaced him with a different Queensbridge rapper who called himself Nature for some reason I'd rather not research.

Everything kept going downhill from there, as Cormy went on to be kicked out of another faction, this time Def Jam Records, who shelved his first attempt at a debut solo album, The Testament. This forced him to escape to the underground, where he released project after project of varying degrees of quality. Not to say that Cormy is a shitty emcee, of course: far from it. Mega has slowly moulded himself into one of the sharpest writers: his lyricism and effort are undeniable. But the main problem I've had with him is his inconsistent beat selection, since I believe using too many no-names causes consistency to drop considerably. Each and every one of his previous albums contains a bunch of tracks that you really can't take seriously (e.g., “Montana Diary”, “Rap's A Hustle”, etc.).

During the recording sessions for his second album, The True Meaning, Cormy came face-to-face with the man who helped shaped Nas's career, because whether anybody likes it or not, producer/rapper Large Professor is equally responsible for the awesomeness that is Illmatic as Nas is himself, since he was the unofficial A&R/executive producer of the iconic album. I've long held an admiration for the man's work in this genre, which was renewed when I came across his shelved debut, The LP. Bottom line: William Paul Mitchell is the fucking man.

Their lone collaboration on that project, “The Come Up”, didn't necessarily set the hip hop world on fire, it paved the way for future link-ups such as “Sugar Ray and Hearns”, which, despite how much I hoped, LP did not produce, and “Journey”, off of Cormy's fifth album Born & Raised. Although he had collaborated with other high-caliber producers such as DJ Premier, Pete Rock & Buckwild on that album, Mega sensed that he was on to something with Extra P. “Journey” was a flawless track that ranks right up there with the other classic tracks in Large Professor's production championship belt. So, since being called a “professor” implies you possess certain degree of intelligence, LP contacted our host to propose a full album-length collaboration. What he didn't expect was that Cormy was just about to call him to propose that very same idea. And the hip hop multiverse storyline was officially underway.

Seriously though, after promising the fucking thing for years, Cormy finally dropped Mega Philosophy, with its wall-to-wall production from Large Professor, onto the unsuspecting masses in July 2014. With this album, he claims he will earn his rightful place among the hip hop elite. So, does he?

Mega Philosophy, boy/girl (pick one):

1. A NEW DAY BEGINS

We begin with some dude passionately shouting about something about outsiders claiming to be hip hop scholars while ignoring some of the key people who helped shape the art form. Whatever. After the speech, Cormy spits a single verse over a smooth musical backdrop with no drums to grab on to. Hey, at least it's not an intro or spoken word.

2. MARS (DREAM TEAM) (FEAT. AZ, REDMAN, & STYLES P)

Huh. The sequel to a similarly structured song on Extra P's 2012 opus (Professor @ Large's “M.A.R.S.”, which featured Mega Montana alongside diet Ghostface Killah Action Bronson, current underground darling Roc Marciano, and Saigon, whom I didn't like for the longest until I heard his work with Just Blaze) shows that our host isn't fucking around. He certainly knows that once people merely glance at that guest list that this track will become an instant priority. So, yeah, this song is the tits. Everybody on here comes correct, and I'm very happy with Redman's first outing over an XP production. His Bruh Man reference produced a chuckle out of me that I don't usually get from most hip hop records these days. Props to AZ's diss to George Zimmerman, too.

3. INDUSTRY

The lead single. This cut got a lot of love from the Interweb back then, and with good reason, as Cormy steps up his ever-present critique of the music industry. This is a big step forward from the guy who wrote “Testament”. Props for mentioning Lauryn Hill and Styles P's respective predicaments, though. I have to think Nas was inspired to let Lauryn remind us of her greatness on KD2's Nobody after he listened to this once him & Cormy mended fences. And points have to be awarded for the single's cover art, especially as he includes the late Guru and Pimp C in that group. Not that we don't miss everyone we've lost in hip hop, but those two don't get mentioned nearly as often as the rest for some reason. I wish LP would have spit some bars on this, as he's been fucked over by the industry even more than our host.

4. MORE (FEAT. CHANTELLE NANDI)

Cormy gets his preach on over a dope LP production that utilises his strong ear for bass along with some soft strings sprinkled here and there, along with our host's new vocalist, whose singing I couldn't really decide on. The end result does the job surprisingly well, because although Cormy's preaching comes off as a bit forceful, it weirdly suits him. This album is slowly becoming quite the force. This is also the second song in a row where LP would've fit in nicely.

5. REFLECTION

Another Cormy acapella, a continuation of his one-acapella-per-album trend. The lyrics are good, though. Next!

6. D.U. (DIVINE UNITY) (FEAT. NATURE)

The working relationship between Cormega and Nature is one of the absolute funniest things I've ever seen in hip hop. First, your friend kicks you out of a group you helped form, and replaces you with some other random dude. Then you dis the shit out of both of them. And finally, you make up with your replacement, but not your longtime friend. Glad both of them squashed that, seriously. Anyway, these two have hooked up in the past on a remix of an Alchemist cut called “Professional Style” that also featured common Firm relation AZ. That track was even remixed by Cormega and The Revelations for his compilation album, Raw Forever, complete with redone lyrics from all parties involved. As for this song? Well, the chemistry is surely there, but the star of the show is the instrumental, which elevates the street imagery and boasts to a truly respectable scale. This shit was stupid nice.

7. HONORABLE (FEAT. RAEKWON)

Cormy's pulling out all the stops on this, huh? The Chef comes correct on his second Extra P outing following his showout 14 years prior on Busta Rhymes's The Heist, alongside fellow Wu General GFK and aforementioned underground darling Roc Marciano, whom I preferred way better during his Flipmode/UN days. Rae and our host use the same formula as "C.R.E.A.M.", in that Rae is once again the party enamoured with the street life while Cormy plays the Inspectah Deck role of the cat who thanks his newfound spirituality for getting him the fuck out of that life. In no way am I saying this is as good as “C.R.E.A.M.”: I'm saying the formula is a tried and true one that works on this track.

8. RAP BASQUIAT

Aside from “MARS (Dream Team)”, this song has the beat that stuck with me the most so far on Mega Philosophy. LP's drum break samples are fucking awesome, and he even plays with the breaks during Cormy's performance to amplify the energy of the track. Accordingly, Mega steps his delivery up to a fever pitch, which gives his boasts a certain authority that improves the overall product. True shit: I haven't heard Cormy sound this aggressive since The Testament. The guy at the end, though? Annoyingly unnecessary to the proceedings.

9. RISE (FEAT. MAYA AZUCENA)

Maya Azucena reunites with Cormy after their stellar posse cut to benefit Haiti, “I Made A Difference”, from 2010, which also marked the first time I had ever heard Reggie Noble spit conscious rhymes. LP and Maya prep the track nicely enough for Cormy to go in full introspective mode, and seeing as I love me some introspection when done right, this shit is right up my alley. This is the second time in a row a track ends in a crappy way, though, as LP brings down the beat, leaving Maya sounding pretty paranoid as she hums on to the end of the track. Still, this was the third song on here where Extra P's bars could've fit like a glove.

10. HOME (FEAT. BLACK ROB)

Even when his Life Story album being an absolute gem that sold one million copies Stateside and his sophomore The Black Rob Report being satisfyingly consistent, I've always felt like the late Black Rob was quite underpromoted. That, and I’ve mistakenly dismissed his solo work for the longest because of his staunch loyalty to the human serpent that is Sean Comby Combs (A dismissal that thankfully didn’t last long). But ever since he left prison in 2010, he's been making moves with the right people: I enjoyed his showing on Smif-N-Wessun and Pete Rock's Monumental collaboration album. He's always had a talent for painting a picture you can believe. On “Home”, he gives what can be argued as his most memorable showing since he became a free man again, although I could probably credit that to XP moulding the beat to fit his heavy voice. Oh, and Cormy's his usual self here, as well. Ever since Rob passed, this has become the track I revisit the most from Mega Philosophy despite its brevity.

11. VALUABLE LESSONS

A quick sample from The True Meaning's “Take These Jewels” precedes a somber acoustic-sampling beat that provides the canvas for the final track on the album, where Cormy spits three verses, each one about a different type of relationship: friendship, family, and love, respectively. He ends his album on a very personal note, and LP's beat is a very fitting musical backdrop for the proceedings. And with that, we're done.

FINAL THOUGHTS: With Mega Philosophy, Cormega has finally delivered what has been missing from his catalogue: A damn fine album that is complete with excellent performances and quality beats from a bonafide legend. Large Professor has finally collaborated with an artist who has shown time and again to be worthy of his beats. (LP, I know Neek The Exotic is your man, but he hasn't delivered on his “Fakin' The Funk” potential for over twenty years now. Maybe he should quit rapping. And L.E.O.? Really, William? You fucked up on that one. Fucked up bad.) The only thing would have made Mega Philosophy perfect are some bars from Extra P himself, and trust me, many opportunities presented themselves. But make no mistake about it: this is a fucking awesome album. The guests, rapping and singing alike, were also equally stellar, lending the album an air of fine quality control and ensuring it as a body of work one will revisit for years to come.

WORTH IT? You bet your doughy and warty posterior, boy/girl (pick one). Cormega, you may now take your rightful place among the elite in hip hop. Very well done, sir.

 

TRACKS TO TRACK DOWN

INDUSTRY (JUICE CREW REMIX) (FEATURING KOOL G RAP, MASTA ACE & CRAIG G)

Over the same beat as the regal original, Cormega returns and brings with him one hell of an all-star show as Craig G, music man Masta Ace and the Kool motherfucking Genius of Rap of hip hop royalty the Juice Crew catch wreck. And boy, do they ever! Each MC delivers a critique that will remain true until God takes this Earth over. This shit slaps!

INDUSTRY (DELUXE REMIX) (FEATURING INSPECTAH DECK, ROC MARCIANO, SADAT X & LORD JAMAR)

Over an entirely different instrumental from the Extra P, Cormega invites my favorite Wu General Excalibur aka Inspectah Deck, Roc Marciano (I'm really mentioning him a lot in this interview, aren't I? Speaks to his workrate) and members of hip hop royalty Brand Nubian Sadat X & Lord Jamar (DJ Vlad's former BFF) to showcase yet another critique of the business side of music. While everyone else, including our host, did their best to leave a lasting impression on the consumer, there’s a reason the other Wu Generals feared the Rebel. With my favorite outing on the song, Deck perfectly exhibits why he’s one of the most potent MCs to ever write lyrics with:

"I strive to be the type to fight to lead them right

From the brainwash, same songs daily that they playin'

And if you disagree with the mass, then you're hatin'"

Preach on, good brother.

And we’re done.

For more on the recently-reinstated Firm member, lookit. For other Queensbridge luminaries, check this out. And for extra Extra P, follow this.

Das EFX - Generation EFX (March 24, 1998)

It's very interesting when you're on top for only a moment, isn't it?

Many bands tried to reach the top of the hip-hop food chain by themselves, but very few actually succeed in doing so.

When you picture acts like Jay-Z, Biggie, 2Pac & Nas,  you find that they've all established themselves as businesses, one way or another from the very get-go.

While other acts, such as Onyx, Naughty By Nature & Das EFX, they've reached the top with only their primary team behind them.

Das EFX, to be particular, relied on their in-house production crew, Solid Scheme, of which the late Chris Charity, a.k.a. C-Dog, ran the entire operation in a close knit group.  These types of teams are molded strictly for underground audiences & rarely make an impact in the mainstream industry, let alone shoot straight to the top of it.  But, shoot to the top they did.

It didn't happen overnight, though. In '91, Brooklyn-born Teaneck-raised Andre Weston bka Krazy Drazy and Brooklyn-born-&-raised William Hines bka Books In Reverse (Skoob for the challenged) were buddying it up in Virgina State masquerading as students along with their two producers when a small hip hop contest was advertised. The winner would get 100 dollars. Only top dollar for the top talents. The crucial details to this otherwise-boring-ass origin story is that the judges of said competition were none other than one Erick Sermon and one Parish Smith, or for the uninitiated, EPMD. Our duo, prior to even calling themselves by their now-household moniker, performed a routine that would later be known as Klap Ya Handz. Needless to say, both E&P were blown the hell away. So naturally, they rigged the competition so that our two protagonists wouldn't win. Parish then came up to the duo and issued the following: "You want a hundred bucks or a record deal?" Which was literally the one thing P could've said to stop Drazy, Books, Solid Scheme member Derek Lynch & ringleader C-Dog from shooting up the place.

As a result, Dead Serious, the duo's debut, executive-produced by EPMD (an obvious step), was the pure definition of a sleeper hit in 1992, gaining vast critical & commercial success, resulting in it rightly gaining classic status in later years.  Stuff of fairytales. Really.

However, things began to spiral out of control once the big EPMD fiasco hit that very same year.  To top it all off, the two snots actually ditched what made them so popular in the first place, "the iggedy" or the "sewage" gimmick.  As a result, it didn't really matter if their sophomore effort, the very underrated Straight Up Sewaside, was a better album in all aspects. The critical & commercial success ship has long sailed.

So, they did the only thing they could do at that point & tried the underground route.  Their 3rd opus, Hold It Down, was a sort of calling in favours from fans within the industry, resulting in a 20-track album with very different musical backdrops, most of which were pretty damn good.  Yet, critics & sales still slumped.

So we come to the year 1998.  The new millennium's on the horizon, boom bap is thought to be long dead and our protagonists are out of favours in the industry.  They had only one option remaining.

Parish Smith, whom the duo sided with after his temporary breakup with Erick Sermon, released his 2nd album in 1996 that somehow gave his camp an identity. "Business Is Business" was basically a PMD Squad album (I refuse to call that clique the Hit Squad. To me, that moniker is reserved for the reunited camps of Erick and Parish respectively), with productions from Solid Scheme, Charlie Marotta, DJ Scratch and the excellent Agallah, or 8-Off the Assassin as he was known at the time, along with rap appearances by M.O.P., Nocturnal, Prodigy from Mobb Deep & our headliners today, who appeared on 4 songs on the album.  They later collaborated with EPMD on the reunion album, "Back In Business" on the awesome track, "Intrigued".

So, in-house was the way to go.  This time around, PMD felt like he had to have more of a hand in the sound of the album, given that he was once an extraordinary producer himself.  So, he geared up with his production affiliates from his sophomore LP, along with a few additions, and set off making the final Das EFX album in many people's eyes.

Anyone bringing up How We Do would be wasting his goddamn time.

Here's Generation EFX:

INTRO

.

RAW BREED

The second single & the first song of the album is a collaboration between Agallah & Solid Scheme, crafting a 50-themed classical music beat that is very easy on the ears.  A very contrasting style to what we're accustomed to from Solid Scheme, but that's merely due to Agallah's input.  The lyrics, however, are a different story.  The duo has seemingly lost all sense of fun in recording by themselves, resulting in a very paint-by-the-numbers lyrical display.  This aspect was very disappointing.  I dunno, I still enjoy this because of the beat.

SHINE

It was bound to happen.  The fucking sewer rats are now attempting a track for the fucking radio.  It's not even a fucking single.  Was this what the streets wanted to hear from the guys who made Hard Like A Criminal and Kaught In Da Ak??!!  On here, these two sound like they were the inspiration for the Beavis & Butthead cartoons.  They hear fucking Comby on the radio, they whimper to themselves: "Hey!!  We can have a good time, too!!  We can look good in a fucking club, too!!!"  Some sewage (pun motherfucking intended) that calls itself Tony L produced this horseshit, by the way.  Important note: Drazy's delivery has become even more annoying than usual this time round.

SOMEBODY TOLD ME (FEATURING 8-OFF & NOCTURNAL)

8-Off returns behind the boards by himself this time & crafts a beat that successfully washes the remnants of the previous song outta my ear. However, his verse is the only somewhat decent verse on this whole song, with the worst offender being Nocturnal, who sounds like a fucking mafioso-rap reject. Lord Almighty, this album's off to a bad start. By the way, who in the FUCK played Sega Genesis back in 98? (I’m assuming they’re not talking about the Saturn or the Dreamcast. Ah, the Dreamcast.) Talk about some false advertising.  Overall, the beat saved this.

SET IT OFF

By far, the worst song on the album.  Rashad Smith & Armando Colon are with us to bring us this pig shit.  Believe me, my fellow lonely soul, it's much worse than the crap that was "Shine".  I mean, it reeks, reeks of sounding like something Mase aka Pastor Betha would’ve left on the cutting room floor when he was making the abysmal Harlem World. For their part, Das EFX have now officially transformed into the poor man's M.O.P.  Scratch that, actually.  They're the de-fucking-prived-of-every-fucking-privilege-known-to-fucking-humankind man's M.O.P.

NO DOUBT (FEATURING M.O.P. & TEFLON)

Speak of the devils.  Solid Scheme return with the very original M.O.P. with their kinfolk, Teflon, to show our hosts how they're supposed to sound if they're gonna make an M.O.P. song. First, you need a beat worth demolishing, and Solid Scheme provide just that. Then, you need some competent MC's, and M.O.P. succeed in bringing our hosts into that special Onyx/M.O.P. vibe of furniture & limb tornados. This was a much-needed breather from all the shit we've been swimming through.

RAP SCHOLAR (FEATURING REDMAN)

The lead single & yep. You read this right. Redman's here. And he's fitting to wreck some shop. Armando & Rashad handle a sample of Brick's "Dazz" that was very famously sampled in Ice Cube’s scathing demolishment of his former NWA brethren, "No Vaseline". This song is originally produced by Parish Smith, with the original popping up later on the album. And, somehow, he thought his version wasn't good enough to be the lead single, so he brought us the dynamic duo of pop at the time. One that isn't called The Trackmasters nor the Neptunes.  Anyway the fuckers were brought in to spice things up a little.  Well, I'm very pleased to tell you that, while their take is clearly the inferior one, they still provided a competent enough spin to justify making this the lead single. Redman naturally steals the track from our hosts by sticking them up with a lollipop. Well, actually Books put up some kind of a fight. Drazy went off rambling absolute gibberish. But don't hold it against him. Too much stress from shitting out all those chimichangas from yesterday apparently fried his wires. We'll get someone to fix him later.

GENERATION EFX (FEATURING EPMD)

It should be notable this is the sole completed EPMD guest appearance released on record, shouldn't it? Well, thank God this song fucking knocks, then.  Parish & Agallah collaborate on this track to produce a brilliant take on "Eye Of The Tiger", which is then demolished by both duos with infectious energy. The sound of Erick & Parish back together on another record just can't be denied. Plus, any song where BOTH members of Das EFX are awake & carrying each other's backs is a big step in the right direction. The hook sucks walrus balls, though. Courtesy of Books In Reverse who's drunk off his ass. Why did you piss him off so, Drazy?

RITE NOW

Some dude named Mike Lowe provides us with East Coast beat #2458842, which does nothing for our hosts, as Drazy's drunk again. Leaving Books as the only sober dude in the booth.  I'm telling you that through his delivery, you can hear him getting angrier at Drazy for being such a fucking bum so far on this album.

WHUT GOES AROUND (FEATURING MISS JONES)

The Sugar Hill songstress is here, and lil Jonesy is so much the wrong companion for a group like our kings of sewage.  Nevertheless, she & PMD, who's on his own behind the boards, do enough with what they can.  This might attract some listeners, but it's merely meh for me.  The beat sounds like it came straight from an 80s pop song. Not bad, I guess?

MAKE NOIZE

The very final Solid Scheme production EVER. Chris Charity aka C-Dog, who was the leader of the whole Das EFX movement, would pass away 2 years later, effectively ending any sort of real Solid Scheme comeback. RIP. Kinda wish the beat was more fitting. It's not bad, per se, but if you're a fan of the group's earlier work, you kinda feel wanting a little bit more than a Nightmare Before Christmas-type of beat. Oh well, the rhymes were somewhat good, at least. I'm almost sad it had to end for them this way. Almost.

NEW STUFF

PMD & Agallah return to give us a more uptempo beat than the previous one, but with very similar lyrical results. Also, Books shows his first signs of lyrical fatigue, as he's slowly but surely become the workhorse of the duo. Meanwhile, in between takes at the time of this song's recording, Drazy's slurping on his third fudgesicle while watching Mulan for the umpteenth time. He sure does love Eddie Murphy's family phase. Don't ask me why.

TAKE IT BACK (FEATURING PMD)

Parish is again left to his own devices behind the boards, which results in a beat that’s the most reminiscent of the Jeep-rattling EPMD sound I've heard in a long while. He appears on the song as well, raising the chemistry of every rapper involved to an enjoyable level. That's all I got.

CHANGE

So, you two fucks. You give us an entire album of mediocre rhymes before bringing us something that resembles interesting writing?  Anyway, Agallah's behind the boards for dolo again.  And this time, he freaks a friggin' somber sample of Queen's "Sail Away Sweet Sister" that sets the mood for the duo to spit. Luckily, they turn in their best lyrical display on the album, As Drazy is speaking to a girl he loves, and Skoob's speaking to a mentor of sorts in a parenting tone. Of course, both of these subjects are metaphors for hip-hop. Ah, well. Count me entertained. They do as well as they can in this point of their career, with Books finally catching up to Drazy in the storytelling department, yet still not passing him. This shit was nice!

RAP SCHOLAR (ORIGINAL VERSION) (FEATURING REDMAN)

I told you that the original version would pop up later on the album, but nooooooo: You had to insist on listening to all this shit first. Suit yourself, my fellow knucklehead.  Anyway, Parish wasted his motherfucking time by commissioning Ringo & Armando to remix this shit earlier, as this version is by far the superior one. Reggie’s lyrics are the exact same while our duo’s pen game is different enough than the single version, but PMD's take elevates this song to very entertaining, as his use of the very same Dazz sample is much better than how those two laced it earlier.

FINAL THOUGHTS:  Das EFX's fall from grace was swift & painful. This is the worst album in their real catalog, and you know what? They have no one to blame but their own goddamn selves. For the most part, no one can fault the beats, as they are a continuation of Parish's 2nd LP's successful run. No producer from Parish's in-house team came with a bad beat,and Solid Scheme tried their damn hardest. The same can NOT be said for the guest productions. However, most notable is that the duo's laziness, especially Drazy's, leaves this album falling flat on its shnoz. The commercial & critical no-shows this time were very well-deserved. Bottom line: Aside from the posse cuts and Change, this was a major letdown & a waste of my motherfucking time.

WORTH IT? Oh, by all means, stay away from this shit.  I can not, with a clear conscience, recommend supporting this album to anyone. Scratch that. You know what? Just give Change & the posse cuts a spin. And if you don't like 'em, I implore you to ignore this album as if it never happened.

Das EFX - Hold It Down (September 26, 1995)

A quick refresher:

The year, 1991. EPMD are basking the success of their third LP, Business as Usual. Passing through Virginia State University, Erick Sermon and Parish Smith judged a small local rap competition, helping two dreads that called themselves Drazy and Skoob Effects (or Das EFX if you're over 70) acquire a deal with EastWest Records.  They were later added to the burgeoning collective the Hit Squad, which consisted of Redman, K-Solo and EPMD themselves. The duo's first shot at rap stardom, Dead Serious, became a sleeper hit in 1992 and sold over one million copies in the US alone.

 EPMD broke up later that year, and each member took his share of artists with him. Parish, who ended up with Das EFX, would attempt a second home run by executive producing their vastly-improved second LP, 1993’s Straight Up Sewaside, but the two snots decided on a fucking stupid business move by turning away from their "sewage" style (the iggedy gimmick, for the uninformed) causing radio stations across the country to immediately lose any interest whatsoever in the Das EFX brand.  The duo would never receive an RIAA certification ever again.

Fast forward to 1995. Drazy and Skoob realized that the only way they could continue to thrive in hip hop was outside of the mainstream, so they set out to create the best underground rap album they could, entitled Hold It Down. With PMD once again on board as executive producer, Das EFX recruited a who's-who list of underground producers to helm the album's beats alongside their usual collaborators Solid Scheme. The list includes big names such as Easy Mo Bee, DJ Premier, Pete Rock, and Showbiz, among others. In the rapping department, Hold It Down became the very first Das EFX album that featured guest appearances, including one big name from outside the immediate family. 

OK, let's put our rubber gloves on and wade through this shit. (Think Ellie Sattler.) Hold It Down, boy/girl (pick one):

INTRO (ONCE AGAIN)

Once again, indeed! Skip!

NO DIGGEDY

The title that Blackstreet ripped off to popularise the very term. The first beat on the album that graces our ears is DJ Premier's first of two contributions. And let me tell you, this is 1995 Preem, so he wasn't fucking around: a fucking masterpiece of a beat surrounds our hosts, and when they start rhyming, you'll notice the “-iggedy” has returned. Whoop-de-fucking-doo. Took both of you shits long enough to cave in to criticism? You're not even doing it the same way: they both sound like they're using the gimmick for the fuck of it, which is just lazy writing. There is a noticeable step down in delivery from our hosts: Not as manic as on the first album nor as precise as on the second, but a deformed hybrid of both. The rhymes here are good enough, I suppose. Preem’s beat carries the proceedings along as well, leading to them sounding that much more comfortable.

KNOCKIN' N****Z OFF

Next up on the 1's and 2's, Easy Mo Bee! I've always respected this guy for his molding of Biggie's lone classic album Ready To Die. Here, he crafts a home run. Skoob takes charge on this song and delivers his trademark punchlines effectively, but Drazy is a fucking lost cause on this track, with only the BDP line as his sole interesting reference as he simply plays hype-man to his partner. Another step in the right direction.

HERE WE GO

Solid Scheme's turn. I gotta say, I'm loving the diversity of the beats so far. The duo provide our hosts with familiar ground, and Drazy and Skoob immediately sound noticeably more comfortable than the previous tracks, even though both beats thereon were both slightly superior to this one. I'm happy to report that Drazy is now sober. He and his partner revert back to their second album flows, coming up with much more clever punchlines. Thumbs up for this one as well.

REAL HIP-HOP

DJ Premier's back, and his second contribution is the lead single. I take back what I said in the "No Diggedy" track description about him not fucking around: Unfortunately, this is a Preem 101 beat. The kind of lazy shit he sometimes exhibits, present day. The lyrics, however continue to improve. Well, Books' anyway as Drazy started drinking again as of this point. It's as if Books is learning how to rhyme again step by step, after the coma that the commercial failure of their second album put both of them through.

HERE IT IS

I don't know who this Kevin Geeda is, but fuck me if he didn't produce a chest caver of a beat. This is exactly the type of beat that I miss hearing in today's music. (With a few exceptions, such as 2013's fucking awesome Trillmatic by the A$AP Mob, of all people.) I'm not exaggerating when I say that this instrumental trumps every one that came before it, and the producers coming up ahead definitely have their shit cut out for them. It seems our hosts recognize this as well, as they sound as refreshed as ever, especially Books. Son goes the fuck in! Drazy was thankfully alert as well, which was awful nice of him. This shit is addictively good!

MICROPHONE MASTER

I really hated Drazy's contributions here at first. Now, I can fairly see that I have given him the wrong end, as Drazy indeed pulls out another serviceable performance from his ass. Maybe it's because he heard himself sampled on the hook in an infinitely better song on which he brought the ruckus. As usual though, Books is taking it very seriously as he turns in another fine performance. The beat is Easy Mo Bee's second, and it's actually fairly soothing. I obviously intend that as a compliment, people. Thank you, Mo Bee, for waking Drazy up again. That was a stand-up thing to do, bruh.

40 & A BLUNT

Easy Mo Bee really pulls a rabbit outta the hat here.  This is a minimalist beat that’ll surely creep its way onto your list of favorite Easy Mo Bee productions. Seriously, it feels like you’re in the middle of a tunnel and you’re gazing at the sunlight beaming in from the exit. Interesting that Books throws a K-Solo mention your way, while Drazy pulls off a lounging mood successfully. A dope Rakim vocal cut, as well. I will say, though, that the Grand Puba sample left him sounding even more annoying than I've ever heard him. Overall though, I had a lot of fun with this.

BUCK-BUCK

The obligatory Das EFX self-production. This sounds less like a song and more like a freestyle. The hook is an abomination, and the lyrics are some of the fucking weakest I've ever heard from these guys. Wait, scratch that: this is literally their worst performance up to this point. I have nothing more to say about this shit. 

INTRO

Are you fucking kidding me?!

CAN'T HAVE NUTTIN'

Um. OK.  After a worthless skit & a song that's absolute hippo piss, we get another unknown by the name of Soul G. producing a haunting beat that is very sorely needed at this point in the album. For their part, Das EFX must have felt they dealt their listeners somewhat of a bad hand, as they turn in their best performance on the album so far. As you know, I loves me a good storytime rap, and here they execute a perfect autobiography on wax. After hearing this, the first thought that came to mind was that Books In Reverse really stepped his storytelling game up. Drazy still outshines him as he's always been the better storyteller, but this time it's much more of a contest. A much-needed step back in the right direction.

ALRIGHT

Easy Mo Bee returns to us with his worst effort on the album, although still fairly good. However, the rhymes echo those on his previous beat: Drazy's awake? Check, since Books can only do so much by his damn self. I loved Skoob's Lou Duva reference, since nowadays people never show enough respect to the legends. Overall, this shit does the job.

HOLD IT DOWN

The final Easy Mo Bee track on the album is a proper sendoff, as he turns in a booming beat that would rock any stadium in this world or the other one. That is, providing Das EFX can generate that much interest. Along with his first & third contributions on the album, this seriously ranks among the man's best work ever.  And I've heard "The Points"!  Lyrically, the hook is grating on the ear, as is the case whenever Drazy goes into one of his tangents. But, the verses are entertaining enough, with funny bits hidden in the verses, like Drazy's Changing Faces reference that had me letting out a loud and earnest "HAH!" in the bathroom at work. Too much info? I don't give a shit. (Pun intended, unfortunately.) This track further adds to Mo Bee's track record as a master of title tracks. Oh you don't think so? Name me one bad title track from him. I'll wait. 

That's what I thought.

DEDICATED

DJ Clark Kent graces us with his presence to cook up one beat which is a friggin' waste of time, and the sentiment's amplified by the fucking chorus. Seriously, hooks really fell the fuck off as the '90s progressed. Skoob is the victor yet again, although neither have anything to add to the conversation. A shame.

READY TO ROCK ROUGH RHYMES (FEAT SOLID SCHEME)

That's right, you read correctly: Solid Scheme make their first and only rapping appearance in hip hop history, then promptly disappear back behind the boards. How do they sound, you ask? Well, you wouldn't know that they produced such chaos-inducing hits such as "Mic Checka" and "Freakit", because as rappers, they are the antithesis of Das EFX. They're not bad, though. It works the same way pairing Guru with M.O.P. does. Das EFX are the roided berserkers of the bunch, while Solid Scheme keep the threats up close and personal in an excellent monotone. Derek Lynch, who rarely makes an appearance in the public ever besides this, goes first, with a flow that sets the tone for the rest of the song. The late Chris Charity bka C-Dog follows up with the coldest verses on the album.  Of all the 4 MCs involved, his deep voice sounds the most intimidating and it leaves you with the impression that he's the one you better not fuck with. (It also helps that Drazy mentioned in an interview once that C-Dog is the real head of the entire Das EFX movement. You get that hearing him rhyme. Believe me.) Of course, this doesn't mean that Das EFX are lyrically inferior to these two here, as their verses at the end swipe the rug from underneath the producers so bad that they never rhyme again. The beat is a very fitting companion to the proceedings, curiously sampling former group mate Redman from the classic "Hardcore".  People sure do love that song, and rightly so. Nice!

REPRESENT THE REAL (FEAT KRS-ONE)

May I present the guest from outside the camp. The Blastmaster himself considered this song so good that he swiped it for his own project that dropped the very next month. Now if that isn't underground cred in 1995, I don't know what is. Lyrically, KRS steals the entire album from underneath our hosts, obviously, even if they put up a good fight. Fellow Bronx legend, crate digger extraordinaire Showbiz, handled the beat acceptably. It's not as good as his previous work with KRS on Sound Of Da Police nor his work with AG, but it does the job. Overall, a dope track.

COMIN' THRU

Well, it appears PMD is finally getting generous, as he lends the duo the services of Grandmaster DJ Scratch, who actually can produce a gem from time to time. His masterful beat, sourced from jazz and funk, provides the sense of gladiator arenas where Drazy and Skoob throw down, with Books failing to get the W over his partner this time.  Drazy sounded pretty inspired here, while throughout the album Books hasn't slipped, aside from Buck-Buck, of course. Punchline for punchline though, he just wasn't able to top his partner on this song.  Dope track, even with the crappy hook.

HARDCORE RAP ACT

The final Solid Scheme contribution is a healthy dose of nostalgia for the heads, sampling a plethora of Golden Era legends like Rakim, LL & (surprise surprise) Erick Sermon yet again.  I'm surprised PMD didn't cut the songs where E-Dub is sampled out, because he sure sounded pissed at him on his solo debut.  Funny that the best lyrical contributions from Das EFX on the album usually appear on Solid Scheme productions, as the duo (Books in particular) really sound inspired over their beat here, with clever references to Attica, Tekken (always welcome) among others.  This was pretty enjoyable.

BAD NEWS (FEAT PMD)

Those of you who were worried that PMD would stay pissed at fate for all of eternity, rejoice! PMD has finally calmed the fuck down, which really shows in his focus and delivery, even though (big shocker here) he still mentions nothing about EPMD's breakup. Anyways, DJ Scratch provides us with a funky banger straight from the EPMD school that samples a track from PMD’s own Shadé Business (a crappy guilty pleasure of mine. Its beats are still hugely overlooked), specifically a 3rd Eye guest verse, on which our hosts utilize the short time to demolish the beat nicely and effectively. These three share a definite chemistry behind the mic and it sure shows. A slam dunk if I've ever heard one.

REAL HIP-HOP (PETE ROCK REMIX)

One of the rare moments, in my humble opinion, that Pete Rock's take on a track completely outshines DJ Premier's. Peter Phillips turns this snoozefest into a fucking anthem for 1990s music, let alone boom bap. The lyrics also sound much more impressive over this beat. Well, Books' rhymes, at least, as this was recorded smack dab in the midst of Drazy's out-of-it sessions. Overall, a definite improvement, and one of the best Pete Rock beats I've ever heard from the man. Well done, Mr. Phillips!

FINAL THOUGHTS:  Hold It Down is one long ass album by Das EFX standards.  At twenty tracks, this comes across as a stealth resume sent to competing labels to show off what they were capable of, even if there isn't much in the way of lyrical variation. The comparison between Das EFX and other punchline rappers, like their former group mate Redman, ends with this album, as Hold It Down marks the point where Drazy and Skoob Effects ran out of chemistry, as Books displayed incredible focus on this album, which admittedly should’ve increased his stock in the industry back then, while Drazy started his lyrical fall from grace here by lazily and infuriatingly going through the motions through a few of the songs. Well, except for some notable examples where he shone just as bright, if not even brighter than his partner. That said, most of the beats on this album are awesome, especially from the unknowns, which act as a saving grace.

WORTH IT?  Definitely. Although this time, the choice is just a smidge harder: Aside from two songs and two skits, the beats save Das EFX from being an absolute chore to listen to, which is the very worst feeling that can come from listening to hip-hop, by improving their performances. Miracle of music n'all.  Except for a handful of cases, in which I wish I could've been at the recording session to take out my anger on all parties responsible for the crap I was listening to. But, before I forget...

TRACK TO TRACK DOWN:
MICROPHONE MASTER (SEWA/41 ST. SIDE REMIX) (FEAT MOBB DEEP)

This was a very welcome surprise. The mere presence of an in-form Prodigy RIP elevates this track to an entirely new level, as he turns in the winning performance. Drazy's paired with him, so he also sounds inspired. The remaining two MCs keep the energy up as Skoob displays his usual cleverness in his punchlines while Havoc keeps up his stellar form from The Infamous. The track's maestro is R&B producer AllStar, and this is his debut hip hop production, on which he does enough. To be honest, I was almost certain the beat was Havoc's. Go figure. But yeah, this song's timeless.