Artifacts - Between A Rock And Hard Place (October 25, 1994)

This is the post where following my blog actually enhances the experience. Because when I told you to remember the name Todd Ray, I meant that shit.

Todd Ray aka T-Ray is a legendary hip hop producer from South Carolina who moved to LA in the mid-90s after a legendary stint in NY with some of hip hop's most pioneering producers and figures. T-Ray's introduction into the Soul Assassins collective, whom I'm still gonna talk about, was the moment his decade of production finally paid off. He produced one of crewmates Cypress Hill's biggest singles to date in I Ain't Goin' Out Like That off their bestselling album to date, Black Sunday. Shit was gravy until the finished album for B-Real’s protégés the Whooliganz (comprised of Mudfoot aka production juggernaut The Alchemist & Madskillz aka actor Scott Caan... I wish I’m making this up.) was shelved with the quickness. For some reason, T-Ray and Muggs had a quiet falling out. To the extent of my knowledge, though, Todd still considers himself a Soul Assassin member to this day. Reason enough for me to include this review in their run that I seem to be taking forever to complete.

Reality set in quick as T-Ray needed to find a way to showcase his wizardry to the world, and for a while it seemed like every production venture he participated in either gets left for dead or overshadowed by circumstance or tomfoolery. Little did he know that his magnum opus would be right around the corner.

For his story largely mirrored that of the duo we’re tackling today: Rahem Brown aka Tame One, cousin of one Reggie Noble aka the mighty Redman from EPMD's legendary Hit Squad crew, was already well-established as the local punchline hero of Newark and was already a member of one of the many precursors to the Wu-Tang supergroup formula consisting of a group of family members and family friends: The Revolutionary Posse of Terrorists. RPT for short. Also noted graffiti writers, Tame, Red, along with former Newark City Council candidate Doitall from the criminally-underrated Lords Of The Underground, used to follow crew leader Diesel Don to their producer DJ Gruff Rhino's house where Tame would be constantly hounded by close friend Jay Burnz Jaya, so happening to be a guest on this album, about one Elliott Williams aka El Da Sensei and how he's a dope MC from his high school who also happened to be a fellow MC and graffiti writer. Finally, after numerous mistimed appointments, the two MCs meet at Gruff's house and start recording together. A spark was born, and Jay insisted that the two would form a duo. Eventually, they would get their first name from simply their reputation of smoking opponent duos, earning them the simple-but-effective name That's Them. Later on, they'd gamble on themselves by heading up to NYC and somehow getting handpicked by Stretch and Bobbito for their legendary show.

And this is where I tie the two tales together.

T-Ray was present when our duo first wrecked shop on the Stretch and Bobbito. They impressed so much that everyone changed their name for them into the Artifacts. Just so happened that the fuckfaces at Big Beat Records (Told you I'd come back to these motherfuckers) heard Tame & El's consistently magnificent showings on the show and presented the duo with a "deal that'll make you a star". One thing they did do right was that they also offered T-Ray to produce the majority, if not the entire record. And he almost did if it wasn't for producer Buckwild from the legendary DITC offering up beats that T-Ray felt were good enough to make the debut they were all working on. Our duo pulled in a beat apiece from a respective acquaintance of each other and boom. Album done.

Four months before Between A Rock And A Hard Place dropped, the Artifacts were finally ready to unleash the debut single that hopefully would leave an impression with audiences. Wrong Side Of Da Tracks, to my limited knowledge, received a shit ton of praise from the fanbase of one of hip hop's most forgotten elements: Graffiti. Taggers were getting increasingly scarce because of the stereotypical association of graffiti with criminal activities which led to it eventually becoming a criminal activity itself. So, naturally, Wrong Side Of Da Tracks became the unofficial graffiti anthem.

Sadly, Between A Rock  And A Hard Place never received any commercial success given the fact that it was under Big Beat and the album suffered the same fate that would later befall Real Live: A commercial failure that carried over the goodwill generated by its lead single to graffiti enthusiasts, and now you're here to see if this album deserves such reverence.

Between A Rock  And A Hard Place, boy/girl (pick one):

DRAMA (MORTAL KOMBAT FATALITY)
We begin the night/day/whatever with an ominous blood-pumping beat from Drew (El Da Sensei's bud) that's perfect for playing in the background when you're beating down that pissant who bullied you in high school incessantly, complete with addictive scratches by the legendary DJ Roc Raida of the X-Ecutioners RIP. And neither of our duo rhyme on the shit. Top it all off, Roc is actually scratching two samples from a song already on the album. You know how much that shit pisses me off. Still, an awesome beat begging for someone to destroy it.

C'MON WIT DA GET DOWN
The second single and Buckwild's first production on here, this track has one doozy of a story here.
It's worth your time because it involves Busta Rhymes with his old Leaders Of The New School crew and some noname rapper by the name of Jay-Z. I don't think that last dude made anything of himself in this hip hop game, but feel free to correct me if I'm wrong in the comments. Back to the song, though, as Buck demonstrates once again why he's one of the most gifted producers to ever construct a beat through flipping a classic funk loop, with all the musical highs and lows expected from the genre on as full a display as you're ever gonna get. Also, do I hear Buck's fellow DITC crewmate AG on the catchy-as-all-hell hook? Anyway, Da Sensei decides it's his time to shine and sets off the album with the most appropriate MO for a new hip hop act: We are lyricists. We will bar you to death. Either get with the program or step off. The difference between El and these subpar rappers being forced down people's throats is that he comes off as a veteran from the very first bar: You know you're listening to someone who knows their shit. And if you thought El was impressive, (which he unquestionably was) Tame comes in and blows your socks off with a continuation of the message at hand. This lyrical assault should've opened the album because it's one of the hypest setoffs to a hip hop album I can ever think of. I know damn well what that encompasses.

WRONG SIDE OF DA TRACKS
The debut Artifacts single and, really, the reason why you're here reading my review about them. The definition of an anthem is 'a song that is identified with a particular group, body, or cause'. When I said that this song was a graffiti anthem, I meant that shit: Tame and El flex their respective graffiti backgrounds while still retaining their punchline venom over what could truly be considered as the beat that changed the Soul Assassins sound forever and T-Ray's coming out party. Todd concocts the most haunting jazz instrumental is something that will not leave your consciousness anytime soon. And the hook adds fuel to the grimy fire which always enhances the immersion. This track singlehandedly establishes Tame One as one of the most underrated MCs to ever grace the microphone. I know I said that in the review of the previous song, but Wrong Side was the one the people heard first, so fuck outta here.

HEAVY AMMUNITION
The thing about crafting albums is that you have to master the art of the wind-down. You simply cannot high-octane the audience to death. Which is what I feel the Artifacts have mastered with this third track: After the previous two knockouts, they allow the energy to simmer down on the musical tip and just step up to the mic and shit-talk the fuck outta you. And even though they give in to the cliche of comparing their lyrics to gunfire, it's hard to stay mad at Tame & El when they're this good at it. Shoutouts to another bomb T-Ray beat as he chefs up a bass-heavy thumper with samples from Erick Sermon, Pete Rock & Tame's cousin Redman. And the beat still minds its own business and stays the hell outta the way of the bars! Read: This shit bangs.

ATTACK OF NEW JERUZALUM (FEATURING JAY BURNS JAYA)
Rest time is over as the Artifacts decide it's time for the energy to pick back up as they repay the favor to the dude who was responsible for them hooking together in the first place by featuring him on the album. Buckwild reenters the fray with an uptempo horn-&-bass-heavy beat that you realize is fated for utter demolishment the moment you hear Tame's opening adlibs. And best believe, all three came correct with bars that'll bury you. Props to DJ Roc Raida RIP as he scratches Tash from Tha Alkaholiks in as the song ends.

NOTTY HEADED N*****Z
T-Ray must've felt like Buck's work on that last song was a producing challenge in who can create the most energetic beat. Because son whips up the most raucous beat on the entire album! I wish I could've been a fly on the wall when both Artifacts heard this beat breathe for the first time in the studio. Naturally, Tame and El bounce off each other flawlessly as they try to outdo each other in tackling the beat. I personally feel that Tame takes this unofficial competition with his sudden display of assonance mastery. Overall, you'll love this joint.

WHAYBACK
T-Ray, fucking production master that he is, decides that it's time for another wind-down as he stitches up a beat comprising psychedelic and jazz elements that absolutely perfect for a hip hop act to convey something. Naturally, our duo knocks it outta the park with the nostalgic rhymes they kick that truly reflect how deep the love for this game can run. The icing on the cake is the song ending with samples from a few of the greats that debuted in 86-88: Just-Ice, Biz Mark, G Rap, PMD, KRS, Shan, the JBs & Kane. Once again it comes back to how great sonic art can make you feel because songs like this will definitely invoke a nostalgic feeling from you even if you've never been around back then.

FLEXI WITH DA TECH(NIQUE)
B-side to Wrong Side Of Da Tracks, people who took a liking to the Artifacts had this to dig into next. Common sense would dictate that our duo had to make their rhymes count if the hip hop community had only 2-3 jawns to whet their appetite until Between A Rock And A Hard Place dropped. Thankfully, they deliver in spades as Tame & El barrel through your brain with punchlines galore over a thumping T-Ray beat that achieves a great contrast with the rhymes with its jazzy horn & bass combo. You can play this shit in a hotel lobby and people wouldn't bat an eyelash if that hotel was The Tunnel back in the days.

CUMMIN' THRU YA F-KIN' BLOCK (FEATURING REDMAN)
Since El brought Drew in to produce that intro without either Artifact rhyming on the shit, (still pissed about that, by the by) Tame One's suggestion, the great Reggie Noble, made damn sure that both Artifacts rhymed their asses off on his spacey bass-heavy brew. Fun fact: For a hot minute, Reggie used to be pretty good at those and the one he gives our duo here is no exception. And by God, do they both oblige as they bounce back and forth, beating you down with their punchlines worse than any ass-whooping you'll ever see on any Streets Of Rage game. Shoutouts to SOR4 finally entering development a quarter of a century after the preceding trilogy ended. Read: We have a slapper, folks. A part of me can't help but stay pissed at the label fuckfaces at Def Jam for not allowing Reggie to actually demolish the beat with his kin. Their complimenting styles would interact later on in their careers, thankfully, so there's that.

LOWER DA BOOM
T-Ray's back. I must say, he's been absolutely lava on this entire album, so far. He's building up quite the case as a production force to be reckoned with and here, he pulls another rabbit outta the hat with an exquisite bass-heavy beat sprinkled with drops of horns that create a wonderful swirl of music. You know, the perfect beat to rhyme your dedication to weed to, which is exactly what our duo venture in. Tame and El have already proven numerous times that they can diversify their subject matter so this was unsurprisingly a walk in the park for them. They exerted the most lyrical effort for this, you say? Huh! Two things caught my ear when listening to Tame verses here: 1. If the dude who got the contact high from his potent batch 'even though he don't touch the stuff' was Redman, I call bullshit. 2. I wonder how he feels about actually seeing cannabis getting legalized throughout the States. Pour your heart out, Tame. It's OK. This hook by El is also something I'm addicted to. Point is, if you don't like this jam then get the fuck off my blog.

WHAT GOES ON?
Buckwild comes back from his long bathroom break to find that T-Ray wasn't messing around so he feels pressed to catch up with a strong-enough instrumental and he definitely impresses with his fusion of funk & jazz. Too bad, Tame & El shoot that shit on sight with them finally succumbing to the most unfortunate industry trend: misogyny. The sheer number of rappers who feel like they absolutely have to diss women on their albums confuses me to no end. Are y'all really that weak as to give in to the whims of your A&Rs?! It's a statistical fact that the vast majority of women in the US (fuck it, worldwide) are good people so from the bottom of my heart: FUCK THIS TOPIC.

DYNAMITE SOUL
Whew. I need to hear something that'd get me back in the groove of things here. Oh, T-Ray got me covered? Sweet! T-Ray bakes a beat that would end up nailing the maximum scope for a song called Dynamite Soul. You literally feel like you're flying around in the Grand Canyon. The Artifacts decide that maybe they should stick with punchlines from hereon out and try experimenting with subject matter on later albums. Good call, fellas. Tame & El revert to punchline mode and shit just feels natural again as they bar opposing crews to death. On the last verse, our duo join the litany of crews who paid tribute to the Run-DMC style of back-n-forth rhyming, usually a great step to take. And these two didn't slack off in the least.

WHASSUP NOW MUTHAF-KA?
T-Ray's final beat for the evening is a simple minimalistic blues loop. It's also the best beat on the album as it's the perfect Artifacts display: Dope beat and dope lyrics. El and Tame bring their best punchlines to the yard and duke it out heavy with just one verse apiece. Here is where you really find out that Tame One is Redman's cousin, maybe even his inspiration, as he blacks the fuck out. Seriously, El oughta thank God that he didn't have to follow Tame on that particular joint, real talk. With that, T-Ray solidifies his dominance over the entire album's sound. This might be the most addictive song on the album because no matter how many times you say you're gonna move to the next one, you remember how short it is and you press rewind again! My favorite song on Between A Rock And A Hard Place.

C'MON WIT DA GET DOWN (REMIX)
Story time: I first heard this Buckwild beat when Celph Titled from Army Of The Pharoahs used it as part of his Nineteen Ninety More re-up for those who were left wanting more after his Nineteen Ninety Now collaboration album blew everyone the fuck away. (Oh, best believe: that album will be discussed here sooner or later) I distinctly remember my giddiness when I finally discovered the source material and how much of a classic fucking collaboration this is. For this is probably Busta's second ever feature after leaving LONS, following his famed showing on the Flava In Ya Ear remix. And boy/girl (pick one), his hunger shows as he takes the final verse and knocks it out the park. Still, I didn't say he bodied everyone else, as Tame came out the gate swinging and eviscerating the jazzy bass-&-xylophones beat. (Shoutouts to my 2-year-old's favorite instrument!) I really felt sorry for poor El, as he really was caught in the crossfire, even though his outing was dope as fuck. All in all, one of the best posse cuts in history.


FINAL THOUGHTS

I must confess that a group like the Artifacts wouldn't be nearly as lasting without consistent production like what my man T-Ray's been able to deliver. A stark update from his blunted sound just a year prior, he reflected the influence of the East Coast Renaissance pretty damn well as he truly cemented himself as one of the most underappreciated production masters in the history of this business with this album alone. Not one single beat he made for Between A Rock And A Hard Place was lacking in any way, shape or form. One thing worthy of note is that he never featured on an album so heavily again as he subsequently returned to freelance work. Nothing to be sniffed at, though, as a year later he'd produce For Da Brothaz, pretty much my favorite Kool G Rap solo display ever off his mafioso debut 4,5,6.  Also overlooked is the fact that T-Ray's work here forced his fellow Soul Assassins producers to update their game hard on their subsequent catalog (which I promise I'll get to soon). And for MCs as hungry as Tame One & El Da Sensei were, that's all they ever needed. The heat from Buckwild & Redman didn't hurt, either. Tame & El also similarly prove that whenever you think of dope MC duos, hell, dope MCs period, both Artifacts deserve to be on there. They've proved their mettle in every facet of the lyrical game: Punchlines, wit, flow, imagery, storytelling, the gamut. Wished they'd rhymed on the intro and dumped What Goes On? into the toilet as that shit subject matter simply disagrees with my very being. The problem, as always with acts this focused, is that they signed with the worst label possible. Big Beat ranks right up there with TVT Records as one of the shittiest labels to ever promote hip hop, naturally leading to casualties like Mic Geronimo, Royal Flush, Real Live, and our boys the Artifacts. Still, at least they were greenlighted for a follow-up. But that's for another time.

(Mr. Todd Ray, I know you sadly moved on from hip hop to do you. If you feel any information in here is incorrect, please feel free to put me and my reader up on game in the comments.)

WORTH IT? What part of "lasting" didn't you understand?! Go acquire this now!! Or simply gobble up whatever the fuck DJ Akademiks' untalented, clout-chasing ass shovels down your throat.

TRACKS TO TRACK DOWN:
DYNAMITE SOUL II (LIP SERVICE MIX) (FEATURING SKILLZ)
My very first review of a Skillz track!! Been a while since I reviewed EZ Elpee, too!! I feel that EZ's beat here is so reminiscent of DITC's sound that it could be mistaken for a Buckwild or Lord Finesse production. That's intended as the highest of compliments, as he freaks a mean bass loop with the hardest snares. Tame, El & guest Skillz do not waste this opportunity in the slightest as they all body the fuck outta the beat, with Skillz sounding so at home he could easily be confused as the third Artifact MC. DJ Roc Raida RIP's scratches at the end are, as always, the icing on the cake. This is one remix you don't wanna miss, especially if you loved the proper album. And we're done.

For more Soul Assassins entries, have at it. If you want to diverge into Artifacts territory, be my most welcome guest.

Almost forgot...

A big, BIG shoutout to No Knockoffs Radio, who provided me the chance for my first public recorded appearance in the US. You read correctly, I'm on the show. Have at y'all in the comments of this video, because clearly, y'all ain't interested in commenting here! LMMFAO!!