Pete Rock - ‘Bring Y’all Back’ ft. Little Brother & ‘Comprehend’ ft. Papoose
taken from NY’s Finest (Nature Sounds, 2008)

Although in internet terms I’m kinda late on this one, the bottom line is that this wouldn’t be FDB if I didn’t throw in my two cents concerning the latest Pete Rock full length NY’s Finest. You’re unlikely to find any particularly original thinking here, as a few blogosphere notables have already said their piece (and said it very well), and for the most part you can probably second guess what my reactions to the record are going to be. Still, for what it’s worth, here is how I’m left feeling after a week or so of getting familiar with the Chocolate Boy Wonder’s latest outing, which easily stands as my most eagerly anticipated release of 2008.

Let’s start with the good. Unsurprisingly, the elements to savour in the record are almost exclusively rooted in the album’s production, which on the whole is beautifully executed. The groundwork laid by Soul Survivor II and his numerous credits on major releases over the last four years or so is clearly built upon here, with Rock having gradually fine tuned his cleaner, more overtly modern aesthetic to the point of near perfection. Tracks such as ‘We Roll’, ‘Best Believe’, ‘Bring Ya’ll Back’ and ‘Comprehend’ are unmistakably Soul Brother penned whilst managing to sound current and involving, and that’s no mean feat for an artist who is rapidly approaching his third decade in the game. Studio engineer Young Guru also deserves a mention, aiding the Chocolate Boy Wonder in achieving a level of clarity with the sound that is for the vast majority of the LP masterfully realised. Although fans with their heads still firmly rooted in the sands of the golden era may take issue with these developments, for me there’s no faulting the beats on offer here (for the most part…), and I’m left with a feeling of warm satisfaction that NY’s Finest still ultimately feels like a Pete Rock record.

Unfortunately, things ain’t all rosy, and even my glaringly biased perspective can’t ignore numerous shortcomings that tarnish the release. Already heavily documented, the guest vocal appearances range from the good to the undeniably wack, with only ‘The PJ’s’ featuring verses that actually match the quality of the musical backdrop care of Rae and Masta Killa. In this context, Rock’s unusually high frequency of vocal contributions is actually a blessing, but there’s little doubt that in terms of both delivery and content his style of rhyme isn’t really up to extended periods of such prominence, and his somewhat clumsy flow begins to feel tired relatively quickly when exposed to such substantial opportunities for dissection. Despite this, I’d still rather listen to Pete Rock rhyme than the majority of the other guests on the album, and when it comes down to it, this is a sad indication of the lack of lyrical finesse on offer.

The other key issue with NY’s Finest for me is that it seems to attempt to do too much at the same time, and this results in a lack of overall cohesion. I don’t actually dislike ‘Ready Fe War’ as much as other respected bloggers seem to, but there’s no denying that it is completely out of place and only serves to disrupt the flow of the album when listened to from front to back. Elsewhere, the more heavily R & B tinged numbers ‘That’s What I’m Talking About’ and ‘Made Man’ are surprisingly weak, particularly given that Rock usually has a knack for incorporating these elements into his grittier aesthetic with a sense of enduring quality (see ‘Take Your Time’ from the first installment of the Soul Survivor series). I’m also not completely sold on the radio friendly ”Til I Retire’, which for me deviates too far away from the traditional Pete Rock sound and again feels a little at odds with the content that can be found elsewhere on the LP.

Having thoroughly enjoyed the initial 12” release featuring ‘914′ and ‘The PJ’s’, there’s no getting away from the fact that NY’s Finest ultimately leaves this particular Pete Rock sycophant a little underwhelmed. As much as I want to think that various cuts on offer here will grow on me with time, the combination of essentially dull vocal performances and an uneven level of quality leaves me feeling otherwise. It goes without saying that NY’s Finest still goes down as a must have in my book, but if this is an indication of things to come from Pete Rock, the sad likelihood is that I’ll be relying on his back catalogue with increasing vigour whenever I feel the need for a little Soul Brother fix. The Main Ingredient for lunch tomorrow? Aw, go on then…

Given that BBE has long been one of my favourite labels in contemporary hip hop, it was a pleasure to be contacted by them recently with the offer of some promo material. Of course, I jumped on the opportunity with the quickness, and low and behold within a few days I had a nice package land on my doormat that included some releases that are unquestionably deserving of your attention. Although I pretty much liked everything they sent my way (check their website for full details of all upcoming releases), the following trio instantly struck me as works that I know readers of FDB will be feelin’. Record labels take note: send me high quality free stuff and this little corner of the internet is yours, if only for a short time.

Tha 4orce - Mind The Gap Anthems V2

Tha 4orce - ‘MTG/Tha 4orce’s Anthem’
taken from Mind The Gap Anthems V2 (BBE, 2008)

Steve Ellington AKA Tha 4orce has had a slightly bizarre career in the entertainment industry by anyone’s standards. Perhaps best known as the patois-speaking DJ on British hit comedy Da Ali G show and for hitting tabloids for bedding one of the cast of EastEnders, you’d be forgiven for passing this release off as the work of the publicity machine in the name of making a quick buck. You’d be wrong. Having emerged from remix work for a host of artists including Amy Winehouse and Common, Mind The Gap Anthems V2 is in fact his second full-length studio album on the solo tip and it’s nothing short of bangin’.

It’s actually been a while since I’ve covered any homegrown hip hop, and this is in part due to the fact that there is an element to the British contemporary scene that I struggle to engage with, largely based around the fact that the music rarely feels like it contains any true substance (no hating intended here: there are, of course, many exceptions). However, what Tha 4orce achieves with this latest LP is the perfect balance between British rudeboy swagger and a maintenance of core hip hop aesthetics that means it easily stands up against its American counterparts. ‘MTG/Tha 4orce’s Anthem’ is a prime example of the quality to be found on the album, utilising a chop of the Schifrin break that I covered a while back for its rumbling bass, and it’s the overall structure of the song that makes it so captivating. With a well measured and gradually building momentum, from scratch intro to beat drop and then into rhymes, I’d be surprised if hearing this didn’t make you hanker for more. Mind The Gap Anthems V2 has been in heavy rotation round my way over the last week or so, and it comes highly recommended here at FDB: cop it when it drops.

Mr Thing - Strange Breaks & Mr Thing

The Discoettes - ‘Yes We Can Can’
taken from Strange Breaks & Mr Thing (BBE, 2008)

Mr Thing has long been a mainstay of the UK hip hop scene and easily ranks as my favourite DJ from these shores. Whereas the other original members of the Scratch Perverts have gone onto more hipster related activities, Thing has stayed true to his hip hop roots, developing his craft to include serious crate diggin’ and outstanding production with British MC Yungun. For me, Thing is the perfect hip hop DJ, with an incredible technical ability that remains focussed on the party and a clear love for the music that means when you see him spin, he looks like he’s enjoying it as much as you are.

His latest project embraces his relatively newfound love of breaks and sees him compile songs from a wide range of artists who have all been mined by intrepid, dusty fingered diggers. Although the promo version that I received was simply a compilation of the songs, the final retail version will in fact be two CDs, with one mixed and the other left untampered with. Steering clear of more obvious breaks means that this is a valuable release for both those in the know and for those who are just starting to engage with the culture (i.e. me), and I have no doubt that the final mixed version will be a gem to savour.

J-Live - Reveal The Secret EP

J-Live - ‘The Incredible’
taken from Reveal The Secret EP (BBE, 2008)

Although I’ve long been a fan of the triple threat wonder that is J-Live, I’d be lying if I said I wasn’t a little disappointed by his most recent full-length The Hear After. In light of this, it’s a pleasure to see the man back on form with his latest project that features production by the likes of Jazzy Jeff, DJ Spinna, Da Beatminerz, Oddisee and Marco Polo.

Lyrically, J-Live has never fallen off in my book, and the EP continues to demonstrate that he is an MC at the top of the contemporary game. However, this is only half the story, and it really is the step up in production quality over his last release that grabs my attention here. ‘The Incredible’ is a sumptuous piece of beatmaking that perfectly complements J-Live’s flow, and it is only one of six songs to savour on the EP. The only shortcoming of the drop is ‘Feel Like Spittin” which feels a little lazy beat-wise, jacking the Skull Snaps break and combining it with the horn track that I will forever regrettably associate with DJ Kool’s ‘Let Me Clear My Throat’. Still, this is a small blip in an otherwise exciting release, and rekindles an enthusiasm for me in future material that we may see released from one of the most talented cats in hip hop.

As I mentioned earlier this week, I’m off on Friday to Switzerland to get my ski on. I’ll catch you in a week and a half or so: I’m sure you’ll manage without me just fine.

Large Pro - ‘We Have A Winner’ & ‘The Highst’
taken from Beatz Vol. 2 (Paul Sea, 2007)

As a certified beat head, a pleasing trend in hip hop over the last few years has been the release of innumerable instrumental releases by some of the finest producers in the game. At their best, these works can be creatively exciting and as engaging as those with rhymes (think Donuts and K-Def’s now shelved Willie Boo Boo The Fool, both of which are prime examples of this formula working exceptionally well) but unfortunately the picture ain’t entirely rosy. For every great instrumental album released there are also a slew of albums that fall victim to a permeating sense of mediocrity and a feeling that somebody simply threw together their off cuts in an attempt to put something out there: quality control doesn’t always seem to be at the top of the agenda. With this in mind, which camp is Large Pro’s recently released Beatz Vol. 2 gonna fall into? Let’s find out…

Let me start by saying that the first installment of the series, the aptly named Beatz Vol. 1, was a disappointment for me. It wasn’t that any of the material was terrible, far from it in fact, but the overall package felt somewhat half-baked. Whereas the aforementioned success stories relied on around 40 beats or so and relatively swift transitions to maintain momentum, Beatz Vol. 1 was sixteen cuts deep, with the majority hovering around the three minute mark. Although every joint on the album had something to say for itself, the release as a whole lacked punch or dynamism and the result was a collection of songs that ultimately left me feeling a little flat. Having said this, a few of the cuts do still manage to drift into my consciousness from time to time, and this has meant that the album has managed to stay in rotation over the past year despite not really delivering the goods: it is Large Pro, after all.

Thankfully, Beatz Vol. 2 is better than its predecessor. For starters, a funkier aesthetic imbues the album as a whole, making this feel a little more like the much loved Extra P of the early ’90s. Tracks such as ‘We Have A Winner’ and ‘The Highst’ reek of hip hop from days gone by, and despite a lack of originality (’The Highst’ even employs the much used Lee Dorsey drum break), they’re more than enough to get you open. The album also feels more consistent than the last, and with very few skippable numbers, it’s certainly entertaining. Nevertheless, despite these pluses, it’s not likely to be a release that you listen to front to back that often.

And why? Put simply, just like Beatz Vol. 1, there just isn’t enough here in terms of quantity and what there is lacks economy. Listening to a whole album of instrumentals is all well and good, but unless it is music of the very highest calibre, your interest is likely to be lost long before the track comes to a close. Unfortunately for Large Pro, this is the case with the latest installment in his instrumental series.

However, this doesn’t totally destroy its appeal. If you’re a dedicated fan like me then you definitely shouldn’t hesitate in copping it, but bear in mind that the album requires that level of passion from its purchasers to really warrant the price of admission. Although I’m gonna enjoy Vol. 2 while it lasts, keep your fingers crossed for Vol. 3: I know I will be.

Panacea - ‘Aim High’ & ‘Square 1′
taken from The Scenic Route (Rawkus, 2007)

It is entirely coincidental that this second installment of recently slept on releases features another one producer/one MC outfit, but it is perhaps indicative of the success that the formula can bring to those who eschew current trends within hip hop. The Scenic Route dropped on Rawkus (not a bad year for the label…) at the beginning of September, and although it garnered a brief fanfare from a couple of disparate corners of the internet around the time, it amazes me that an album of such quality fell victim to the fierce and ruthless momentum of the blog scene. As with Travel At Your Own Pace, The Scenic Route is a work that clearly engages with boom bap aesthetics, but it does so in an exciting and engaging way that feels remarkably original: if you’re sleepin’, consider this a friendly wake up call.

K-Murdock’s production style has developed substantially since the crew’s first release, a well-judged blend of punchy drums and richly textured samples that gradually mutate as each track progresses. His flair is demonstrated by the incredibly spacious quality that his soundscapes possess; the result is a sensation of the beats almost wrapping themselves around you, permeating all of the available space in which you dwell. ‘Square 1′ is one of the tracks in which this quality is most fully realised, a truly beautiful composition that demonstrates K-Murdock’s production style perfectly. The combination of organic sounding samples with electronic touches manages to achieve a satisfying balance, and it provides the beat with a modern twist that feels right at home when punctuated by the aggressive drum track. ‘Aim High’ is another of my favourites, a seriously jazzy number that is propelled forwards by its energetic drum track whilst maintaining a smooth, laid back vibe through astutely chosen samples. Both are fine examples of the delights to be found here, and they demonstrate K-Murdock’s skill at combining a range of sample sources into remarkably coherent end products that still bang.

Raw Poetic’s contribution is also significant. A relaxed, conversational style is the perfect match for K-Murdock’s production, and he is skilled at weaving together a range of images when constructing his narratives that give his rhymes serious depth. He’s also able to switch up his style when the beat demands it, and his lyrical gymnastics on ‘Between Earth And Sky’ prove that he is no one-trick pony. Unfortunately for Raw, I find that really my focus lies in the beats on The Scenic Route, although this is as much a result of my own personal preferences as anything else: his performances on the album are as accomplished as you’re likely to hear this year.

It’s not all perfect though, and there are a couple of missteps. The electronic element to the songs can prove overbearing at times, the most fitting example being ‘Pops Said’, which feels a little flat when compared with the lusher textures to be found elsewhere on the album. Still, there is very little here that could be defined as categorically skippable, and a sense of consistency and variety is successfully maintained throughout.

In a recent review in Hip Hop Connection, Hercules Rockerfella (yea, I wish that was my name too) commented that what is saddening about Panacea’s sophomore outing is that it is unlikely to find a wider audience outside of the hip hop community, as its potential fanbase are still ‘too busy blindly collecting J Dilla paraphernalia’. This is a real shame, because it is exactly this brand of modern hip hop that I would feel proud to be representative of the contemporary culture. The Scenic Route is soulful, beautiful music that deserves to transcend the confines of genre: cop it.

Although certain album releases get more than their fair share of exposure around these internets (American Gangster being the obvious flavour of the last fortnight or so) there are an even greater number of LPs that only muster a brief mention or two before sinking rapidly into relative obscurity. This is in part reflective of the sheer volume of easily accessible releases kickin’ about at any one time, but also of the resistance of bloggers (myself included) to cover anything that is already deemed to be old news, even though old news in internet time could mean a time frame that is measured in units as small as hours. This is a damn shame, because in this hectic climate of quick fixes and a relentless focus on ‘the next big thing’ there are often albums of serious quality that really don’t seem to get the credit they deserve.

As a result, the next couple of posts here at FDB will focus on recent full lengths that have struck me as grossly under-represented by the blog scene, and which deserve further exposure despite their moment in the virtual sun having already passed. Nothing exclusive here people, just some recommendations that may have understandably flown under your radar as you duck and weave your way through the vast and treacherous skies of an ever-expanding blog scene.

Many Stories To Tell - Y Society

Y Society - ‘This Is An Introduction’ & ‘Scientist’
taken from Travel At Your Own Pace (Tres, 2007)

About six months ago I was briefly obsessed by some guy referring to himself as ‘dopegraffhead’ on YouTube. Having rampantly digested each and every one of his videos in which he recreated classic jams with incredible deftness behind the boards (you can watch them all here) I was left wondering if he might translate these skills into his own production work and officially release something. Sure enough, last month saw Travel At Your Own Pace, a collaboration between the man in question, Damu Tha Fudgemunk, and one of my favourite active MCs, Insight.

Clearly rooted in boom bap aesthetics, Travel At Your Own Pace is a fine example of how to use the past to your advantage whilst avoiding an end product that is entirely derivative. Damu’s beats contain all the hallmarks of hip hop’s golden era, but their rich texture and infectious head-nodding vibe mean that there is enough here to keep the formula feeling modern and fresh. ‘This Is An Introduction’ is one of the clear standouts for me, featuring a couple of tasty loops, a perfectly executed scratch chorus hook and a hefty dose of reverberating horns all backed up by a drum track that has a satisfying punch. Fortunately, it’s not the only cut to savour here, and it is a general indication of the consistent quality you can expect from the album as a whole: just check ‘Scientist’ and ‘Setting The Example’ if you’re looking for the proof.

It’s always pleasing to see a one producer/one MC effort in these days of jam-packed production rosters and multiple guest verses, and Insight holds up his side of the bargain admirably. A tight flow and energetic delivery are the key features of his style, so much so that the content is somewhat lost on me: it’s the inherent musicality and sense of passion in his rhymes that captivates me above anything else. Having thoroughly enjoyed Insight’s previous outings on wax, it’s great to see the Bostonian MC still killin’ it over some dope production in 2007.

With very little skipping material and a sense of real cohesion, this is an album that has stayed in rotation for me for months (how many albums have done that for you recently?!). Chisel out a window in your hectic schedule and give it a well deserved spin: although this may not be ground breaking material, I have enjoyed Travel At Your Own Pace as much as any other release this year.