In 1993, a certain MC spit the following line: 'These type of tunes got me consumed in a rubber room.'
Ever since the very first time I heard Enta Da Stage by Black Moon: MC's 5ft, Buckshot and DJ Evil D, I've always found a way to replay many Beatminerz-produced songs again and again. Trust me, my wife's sick to death of it. I might've denied them being the powerful production force that they are at first, because believe it or not, Enta Da Stage was not my first exposure to Da Beatminerz, consisting of real-life brothers Evil D and Mr. Walt. No, I first heard their work on OC's Dangerous, a flossy duet he did with late punchline juggernaut Big L. Back then, I dismissed them as yet another Trackmasters-esque team, and no one has the right to blame me for that misjudgment. Especially if you heard that song. Anyway, I neglected to notice that they had an entire sound prior. A sound that stretched out over the course of four albums prior to Dangerous, specifically 93-96 and beginning with, of course, Enta Da Stage. And after I'd listened to that album, I was instantly fiending for more.
Now, this time I had already done my research regarding what the Boot Camp Clik actually planned next. And from Da Beatminerz' side, it was very obvious that Evil D and Mr. Walt were gearing up for big things production-wise. For in 1994, Black Moon remixed two of the more popular tracks from their album, Buck Em Down and I Got Cha Opin, while releasing all-new songs, Reality (Killing Every...) and Murder MC's, as b-sides to said remixes. There was something different to their approach this time round. Both brothers were more serious about coming off as professionals, and it truly shows in their work. From samples to cutting to mixing, everything sounded crisper and more refined, contrasting with the uniquely-raw sound of Enta Da Stage. I wanted more. Little did I know I had so much more coming when I figured out that they had planned to make their next project as directors of a hip hop album. The results became Smif-N-Wessun's debut album. This album.
Smif-N-Wessun, Darrell Yates and Tekomin Williams aka General Steele and Tek Smokee Lah respectively aka Mr. Vicksta and Mr. Rippa respectively aka Dred and Bal-head respectively aka Steele and Tek for short, were lifelong friends along with the rest of the Boot Camp. However, their bond to each other as friends transcends your average lifelong friendship in the industry. So much so that according to Tek, Steele taught him how to rhyme, starting with writing his first rhyme. Many respected duos experienced break-ups, beefs, falling-outs and so on, but not these two. Together, they debuted on Enta Da Stage on two songs, both were highlights of the entire album: Black Smif-N-Wessun and U Da Man. Lyrically, the two complimented Buckshot very well with these guest appearances, both even upstaging him on Black Smif-N-Wessun. Of course, given the limited lyrical subject matter prevalent on the rest of the album, that wasn't very hard to do, but still. So, when those three formed the rest of the BCC as a rap collective, it made sense that Smif-N-Wessun would be the next act out the gate. Buckshot called on the service of Team Beatminerz, who've since added two members, Babee Pall & Rich Blak, to their roster, and it was on. Releasing the first single, Bucktown/Let's Git It On, the two patois-obsessed weedheads had a relatively modest underground hit on their hands, so production continued full-speed ahead... And they succeeded in building the very first shitting robot. Think about it. A robot who shits. Brilliant.
All silliness aside, Dah Shinin' rarely gets talked about in hip hop circles anymore. Fuck, it rarely gets talked about in BCC fan circles anymore. Unless it so happens to be the 20th anniversary of said Shinin'. Meanwhile, every once in a while you find a tribute to the Illmatics, the Ready To Dies & especially the Reasonable Doubts of the world. Now, while in no way am I trying to imply that these were even remotely bad albums, I am calling out those fuckers who barrage the internet with absurd, even obscene, claims like, such and such album is "teh goatz". Ditto with rappers, producers & songs. I will always have an issue with this line of thought. Because whether you like it or not, boldly making such statements harms each and every act who put their blood, sweat and tears into their product yet for some reason never reached a wide-enough audience. Bottom fucking line: Grow the FUCK up.
On to the review:
TIMZ N HOOD CHEK
I love that fact that Dah Shinin' mirrors Enta Da Stage in not including an intro. However, my issues with the tracklisting on Enta Da Stage also continue here: The fuckheads at Nervous should've placed the lead single and its b-side as the opening two tracks. Other than that, I'm surprised that Evil D went with such a minimalist approach. I mean, as always, the beat is meticulously crafted from Galt MacDermot source material, but the result almost falls flat on its face. Almost. Steele sets shit off in a manner that forces you to pay attention, with each and every one of his boasts hitting you square in the chest, and you realize you're dealing with a different animal than Buckshot. These dudes are both very big on imagery amid their threat-filled verses. Especially General Steele. He's not my preferred MC out the BCC for nothing.
WREKTIME
Allow me to applaud Da Beatminerz for once again delivering an audio painting of beautiful contrast. You see, by now this team has really come into its own with regards to its unique sound. Mr. Walt's composition on this track demonstrates just that with a very mellow Barbara & Ernie bass loop meshed with incredibly hard Mad Lads drums. The Eric Gale saxophone sample scattered around the track is the icing on the cake. This is not lost on Steele-N-Tek, as they turn in a brilliant verse each, punctuated by an insanely-annoying hook that threatens to blow this song's momentum out the sky with an anime-style laser beam. one of those always depicted to destroy planets and shit. They choose the third verse to debut their twist on the famed back-n-forth style of MCing on the album, pioneered by Run-DMC & perfected by certified legends such as EPMD, Raekwon & Ghostface (RAGU for short) and many others. Of course they had already debuted this style in 1994 on the b-side Let's Git It On, but it's nice that they followed up and stuck to what works here. And I must say, this duo holds up where many similarly-skilled duos failed in that they just sound natural using this style. The first real hit on the album with me.
WONTIME (FEATURING HELTAH SKELTAH)
I take that back. Wrektime is absolute trash compared to this. Mr. Walt, whom from here on out in this review shall be known as Mr. fucking Walt, collaborates with Rich Blak on, by far, the grimiest and most demented beat on this album. Fuck that: It's, by far, the grimiest and most demented beat in the entire BCC's catalog. There is no room for melody here, and Rock delivers a fucking masterpiece of a hook, with Sean Price (RIP) chiming in with one ad-lib: 'One time!' I swear, that ad-lib sounded like one of those voices you saw in a horror cartoon as a child and proceeded to have nightmares about for your entire prepubescent life. However, even with all that, the true centerpiece of this track will always be our two hosts. Both of them. See, very much like other famed hip hop MC duos, one of the members outdoes the other, being the workman of the act, while the other's performances act as somewhat secondary and supporting to the first, even if they both had equal mic time. But, when both MCs fire on all cylinders and throw everything they know about rapping into the song, the result is nothing short of grandiose, and that's precisely what happens here. Steele & Tek launch into a violent, hardcore-imagery-filled performance with the middle verse in particular stealing the show, as it describes some of the more violent aspects of life in jail from the first person. What I loved most about their contribution was how much Tek stepped up and matched Steele blow for blow, which is no easy feat, trust me. This is a damn highlight.
WREKONIZE
Babee Pall's debut, my fellow lonely soul. He too chooses a minimalist approach for this track, although his results fare much better than Evil D's last offering, with his clever looping of a New York Port Authority bass sample. The future Cocoa Brovaz spit a verse apiece filled with descriptive images of stature and loyalty. Nothing could've possibly followed Wontime successfully, but this here makes do with what it has.
SOUND BWOY BUREILL (FEATURING TOP DOG & STARANG WONDAH)
Apparently, people who aren't fans of reggae hate this song and vice versa. I fall in neither category, seeing as I don't listen to reggae all that much and yet I fucking love this song. The whole instrumetal screams dancehall and you really had to see the accompanying video to get a feel of why this song is so loved. Both Beatminerz make it their mission to keep things as simple as possible with their original composition. Our hosts debut two of the three Originoo Gunn Clappaz to assist them, so of course one of them had to be Steele's brother Top Dog. However, it would be Starang Wondah who would turn heads the most, as his punchlines are already at mastery-level with his very first recorded appearance. The lyrics are mostly braggadocious, which fits the dancehall vibe like a glove.
K.I.M.
Mr. fucking Walt is back with another booming production, effectively looping Paul McCartney this time. Our duo launch into another imagery-filled tale of violence. Steele barely edged out his partner, even though Tek came with a dope-ass line about police brutality. Hey, you know who Steele's closest competition from other acts around that time would be? Prodigy from Mobb Deep. The two are so similar in many ways. Both had an incredible talent for descriptive rhymes. Both were clearly the superior MCs in their respective duos. Both dropped early albums in the highly-revered year of 1995, although this is fairly minor. Only difference they have now is the fact that P fell off hard, while Steele somewhat maintains his lyrical sharpness to a degree.
BUCKTOWN (FEATURING TOP DOG)
The debut single. Both Beatminerz produce this classic tune, brilliantly utilizing a four-second Jack Bruce loop. Darrell & Tekomin respectively spit one verse each and combine eight bars each for the final third verse with the now-classic hook following each contribution. This is the only song off this album to carry on the shouting hooks from Enta Da Stage. Speaking of the chorus, I must add that Da Beatminerz directed its performance very impressively indeed. And yes, that's actually Top Dog chanting the final 'Home of the Original Gun Clappers'. It even shows so in the video. Which fits oh so perfectly, as Dashawn just so happens to be an Original Gun Clapper himself. Fancy that.
STAND STRONG
Evil D brings out the big guns by sampling that Isaac Hayes record. Yes, The Look Of Love is upon us. You might even prefer calling it Da Look Uv Luv by this point. Anyways, Steele outclasses Tek by a fairly considerable margin this time, even though Tek wasn't bad at all. There's something to be said about a dude who can effortlessly spit rhymes like: "Will your boys leave you stranded in the midst/Of a battle where you get that ass shattered at your own risk?" and make them connect hard. Too dope.
SHININ...NEXT SHIT
Evil D brings us a short instrumental, Pete Rock-style, before Mr. fucking Walt comes in and obliterates whatever memory you had of said instrumental with a gorgeous Roland Hanna Trio piano loop. I've heard the original sample and trust me, friend: Mr. fucking Walt elevates that hit to mythical heights. Of course, none of this means anything if the lyrics aren't any good. And, thank God, they are very good. In fact, I'd argue that Steele delivered a career-high performance again. Tek can only do so much. Seriously, Steele blacked out on both verses in an awesome manner. Evil D, you better step up your game heavy.
CESSION AT DA DOGHILLEE (FEATURING BOOT CAMP CLIK)
Which is precisely what Evil D does from hereon with that sweet Bobbi Humphrey flute sample. This is the BCC's official debut on wax, and one of my favorite things about them is their undeniable chemistry on posse cuts, very similar to a certain Wu-Tang Clan. Every one in the crew who isn't Buckshot spits a verse to claim the title of 'best verse on the shit'. Yeah, that's what it's actually called. What did Buck do in the meantime? Oh, just hook duties. Even if he is the co-founder of the fucking group. Naturally, Steele's final verse outclasses them all but on a more serious note: It has become very painful to listen to Sean set the song off. We truly lost a punchline legend.
HELLUCINATION
Evil D really stepped it up after Mr. fucking Walt's challenging feats on Next Shit. This Minnie Riperton audio note is a fucking masterclass in sampling, as D lays the foundation for the duo's attempt at story time. I haven't noticed this until recently, but Tek-N-Steele weave a detailed plot-driven story on wax. It has it all: Moods swinging, violent imagery, and the whole. I guess the lyrics were alright but the beat was what carried me through, no question.
HOME SWEET HOME
Babee Pall is back after a lengthy absence. His Roy Ayers sample is interesting in many ways, as for some reason I get the feeling that this song was the blueprint for everything else on the album. Maybe I'm wrong, who knows? Anyways, the resulting beat is appropriately dark and our duo come up with a pretty good ode to their hometown, one filled with death left & right.
WIPE YA MOUF (FEATURING BUCKSHOT)
Our final Babee Pall composition for the album is unfortunately utilized the worst, as our two hosts pick this song to dis the shit out of the 'dickriders' of the world. You would think that this would be conducted in a manner that would command respect, but they come off ignorant as shit. The whole concept of 'dickrider' is me as a fan gobbling up everything you do and not calling you out on your bullshit, right, Smif-N-Wessun? Well, I am not one of those fuckers. I will tell you what it is if I ain't feeling it. And this shit should've been left on the cutting room floor. Matter of fact, it shouldn't have ever left either one of your minds. I feel sorry for Babee Pall's wasted effort in piecing together the Ahmad Jamal beat. It deserved more.
LET'S GIT IT ON
Thankfully, the next song on the list is the b-side to the 1994 lead single. This shit right here, again, should've followed Bucktown as the opening two tracks of the album. Anyways, this marks another Beatminerz tag team, and the results are absolutely glorious. These two turn an extremely upbeat Mandrill sample into the most sinister theme your nightmares ever heard. And the fucking flute and keyboard samples amplify the sense of dread that creeps over you just before Smif-N-Wessun step to the mic and spit their shit. And I said Smif-N-Wessun for a damn reason. This is the aforementioned real debut of the duo's back-n-forth style, and it sounds even better here. They just descend from that cloth of versatile MCs who respect the fucking craft and it shows, believe me. Another smash hit.
P.N.C. INTRO
Really, guys? You'll throw an intro in now?!
P.N.C.
Evil D goes for delf on the final cut, preceded by a useless intro where Steele spits a rhyme that he would later use on the same goddamn song. I mean, why? Anyway for the swan song of this monolithic album, D loops a very fitting One Way sample that set the somber mood just right. Steele shines brightly here, outclassing his still-impressive P.N.C. to the degree that I guarantee his voice being the one you remember the most when thinking about this album. There was no way to end this album better than this.
FINAL THOUGHTS: Something has to be said about Da Beatminerz dictating the creative direction of this album. Today, both brothers will tell that out of the first four out the gate, this album was the most difficult of the bunch. But boy, did it pay off. Tek and especially Steele grow out of Black Moon's shadow very early on while slipping up only twice. Granted, they were a skit and a horrible, awkward fucking song but still. Dah Shinin' set off a definite landmark year in hip hop's history, and I'm proud to say they did it with class. Except when they recorded Wipe Ya Mouf.
WORTH IT? Anybody who loves the BCC, or good-ass hip hop for that matter, and knows this album yet thinks lesser of it should kick themselves in the nuts. Right now, please. What if you don't have nuts, you ask? You'll figure something out. For those who're exposed to this musical oddyssey for the first time: This album's essential status cannot be contested.
TRACKS TO TRACK DOWN:
WREKONIZE (REMIX)
Apparently the internet is confused as to who actually produced this shit, whether Babee Pall or Steele. The Grover Washington source material is so unorthodox for these two that it surprisingly works very well, coupled with the duo giving eight bars each in the first two sixteens, with the final verse being that tag-team flow they've perfected by now. Their subject matter is basically their tribute to the Native Tongues messages. And I must say that I am all for that type of music in my collection.
HEADZ AIN'T READY
The credited debut of the Boot Camp Clik. Produced by both Beatminerz, this first appeared on the New Jersey Drive Vol. 2. Its remix popped up on the unofficial 1996 Black Moon compilation Diggin' In Dah Vaults and, again, the internet can't seem to make up its mind whether Buckshot or Da Beatminerz made the beat. I personally prefer the earlier version, even though the latter has like two extra bars each from Starang and Louie. This is unquestionably my favorite BCC song for the simple fact that it's the only song released during the period where the Clik relied heavily on Da Beatminerz to provide that dark sound, and the BCC simply shined the most when combined with that special sound. Again, their chemistry as a group here is only rivaled by the best Wu posse cuts. This is another song you simply must acquire. That's a wrap.
I got some more BCC fo' yo' ass.
K.I.M.
Mr. fucking Walt is back with another booming production, effectively looping Paul McCartney this time. Our duo launch into another imagery-filled tale of violence. Steele barely edged out his partner, even though Tek came with a dope-ass line about police brutality. Hey, you know who Steele's closest competition from other acts around that time would be? Prodigy from Mobb Deep. The two are so similar in many ways. Both had an incredible talent for descriptive rhymes. Both were clearly the superior MCs in their respective duos. Both dropped early albums in the highly-revered year of 1995, although this is fairly minor. Only difference they have now is the fact that P fell off hard, while Steele somewhat maintains his lyrical sharpness to a degree.
BUCKTOWN (FEATURING TOP DOG)
The debut single. Both Beatminerz produce this classic tune, brilliantly utilizing a four-second Jack Bruce loop. Darrell & Tekomin respectively spit one verse each and combine eight bars each for the final third verse with the now-classic hook following each contribution. This is the only song off this album to carry on the shouting hooks from Enta Da Stage. Speaking of the chorus, I must add that Da Beatminerz directed its performance very impressively indeed. And yes, that's actually Top Dog chanting the final 'Home of the Original Gun Clappers'. It even shows so in the video. Which fits oh so perfectly, as Dashawn just so happens to be an Original Gun Clapper himself. Fancy that.
STAND STRONG
Evil D brings out the big guns by sampling that Isaac Hayes record. Yes, The Look Of Love is upon us. You might even prefer calling it Da Look Uv Luv by this point. Anyways, Steele outclasses Tek by a fairly considerable margin this time, even though Tek wasn't bad at all. There's something to be said about a dude who can effortlessly spit rhymes like: "Will your boys leave you stranded in the midst/Of a battle where you get that ass shattered at your own risk?" and make them connect hard. Too dope.
SHININ...NEXT SHIT
Evil D brings us a short instrumental, Pete Rock-style, before Mr. fucking Walt comes in and obliterates whatever memory you had of said instrumental with a gorgeous Roland Hanna Trio piano loop. I've heard the original sample and trust me, friend: Mr. fucking Walt elevates that hit to mythical heights. Of course, none of this means anything if the lyrics aren't any good. And, thank God, they are very good. In fact, I'd argue that Steele delivered a career-high performance again. Tek can only do so much. Seriously, Steele blacked out on both verses in an awesome manner. Evil D, you better step up your game heavy.
CESSION AT DA DOGHILLEE (FEATURING BOOT CAMP CLIK)
Which is precisely what Evil D does from hereon with that sweet Bobbi Humphrey flute sample. This is the BCC's official debut on wax, and one of my favorite things about them is their undeniable chemistry on posse cuts, very similar to a certain Wu-Tang Clan. Every one in the crew who isn't Buckshot spits a verse to claim the title of 'best verse on the shit'. Yeah, that's what it's actually called. What did Buck do in the meantime? Oh, just hook duties. Even if he is the co-founder of the fucking group. Naturally, Steele's final verse outclasses them all but on a more serious note: It has become very painful to listen to Sean set the song off. We truly lost a punchline legend.
HELLUCINATION
Evil D really stepped it up after Mr. fucking Walt's challenging feats on Next Shit. This Minnie Riperton audio note is a fucking masterclass in sampling, as D lays the foundation for the duo's attempt at story time. I haven't noticed this until recently, but Tek-N-Steele weave a detailed plot-driven story on wax. It has it all: Moods swinging, violent imagery, and the whole. I guess the lyrics were alright but the beat was what carried me through, no question.
HOME SWEET HOME
Babee Pall is back after a lengthy absence. His Roy Ayers sample is interesting in many ways, as for some reason I get the feeling that this song was the blueprint for everything else on the album. Maybe I'm wrong, who knows? Anyways, the resulting beat is appropriately dark and our duo come up with a pretty good ode to their hometown, one filled with death left & right.
WIPE YA MOUF (FEATURING BUCKSHOT)
Our final Babee Pall composition for the album is unfortunately utilized the worst, as our two hosts pick this song to dis the shit out of the 'dickriders' of the world. You would think that this would be conducted in a manner that would command respect, but they come off ignorant as shit. The whole concept of 'dickrider' is me as a fan gobbling up everything you do and not calling you out on your bullshit, right, Smif-N-Wessun? Well, I am not one of those fuckers. I will tell you what it is if I ain't feeling it. And this shit should've been left on the cutting room floor. Matter of fact, it shouldn't have ever left either one of your minds. I feel sorry for Babee Pall's wasted effort in piecing together the Ahmad Jamal beat. It deserved more.
LET'S GIT IT ON
Thankfully, the next song on the list is the b-side to the 1994 lead single. This shit right here, again, should've followed Bucktown as the opening two tracks of the album. Anyways, this marks another Beatminerz tag team, and the results are absolutely glorious. These two turn an extremely upbeat Mandrill sample into the most sinister theme your nightmares ever heard. And the fucking flute and keyboard samples amplify the sense of dread that creeps over you just before Smif-N-Wessun step to the mic and spit their shit. And I said Smif-N-Wessun for a damn reason. This is the aforementioned real debut of the duo's back-n-forth style, and it sounds even better here. They just descend from that cloth of versatile MCs who respect the fucking craft and it shows, believe me. Another smash hit.
P.N.C. INTRO
Really, guys? You'll throw an intro in now?!
P.N.C.
Evil D goes for delf on the final cut, preceded by a useless intro where Steele spits a rhyme that he would later use on the same goddamn song. I mean, why? Anyway for the swan song of this monolithic album, D loops a very fitting One Way sample that set the somber mood just right. Steele shines brightly here, outclassing his still-impressive P.N.C. to the degree that I guarantee his voice being the one you remember the most when thinking about this album. There was no way to end this album better than this.
FINAL THOUGHTS: Something has to be said about Da Beatminerz dictating the creative direction of this album. Today, both brothers will tell that out of the first four out the gate, this album was the most difficult of the bunch. But boy, did it pay off. Tek and especially Steele grow out of Black Moon's shadow very early on while slipping up only twice. Granted, they were a skit and a horrible, awkward fucking song but still. Dah Shinin' set off a definite landmark year in hip hop's history, and I'm proud to say they did it with class. Except when they recorded Wipe Ya Mouf.
WORTH IT? Anybody who loves the BCC, or good-ass hip hop for that matter, and knows this album yet thinks lesser of it should kick themselves in the nuts. Right now, please. What if you don't have nuts, you ask? You'll figure something out. For those who're exposed to this musical oddyssey for the first time: This album's essential status cannot be contested.
TRACKS TO TRACK DOWN:
WREKONIZE (REMIX)
Apparently the internet is confused as to who actually produced this shit, whether Babee Pall or Steele. The Grover Washington source material is so unorthodox for these two that it surprisingly works very well, coupled with the duo giving eight bars each in the first two sixteens, with the final verse being that tag-team flow they've perfected by now. Their subject matter is basically their tribute to the Native Tongues messages. And I must say that I am all for that type of music in my collection.
HEADZ AIN'T READY
The credited debut of the Boot Camp Clik. Produced by both Beatminerz, this first appeared on the New Jersey Drive Vol. 2. Its remix popped up on the unofficial 1996 Black Moon compilation Diggin' In Dah Vaults and, again, the internet can't seem to make up its mind whether Buckshot or Da Beatminerz made the beat. I personally prefer the earlier version, even though the latter has like two extra bars each from Starang and Louie. This is unquestionably my favorite BCC song for the simple fact that it's the only song released during the period where the Clik relied heavily on Da Beatminerz to provide that dark sound, and the BCC simply shined the most when combined with that special sound. Again, their chemistry as a group here is only rivaled by the best Wu posse cuts. This is another song you simply must acquire. That's a wrap.
I got some more BCC fo' yo' ass.
No comments:
Post a Comment