Filed under: Album Reviews
I’ve said before that there is always a satisfaction in finding early works by artists who have subsequently made a big impression on the genre. ‘Lost In Brooklyn’ is not only a slept on and enjoyable release from ’94, but it is also the album on which we find Shawn J. Period’s first production credits (highlighted in the picture). If you don’t know Shawn J. by name, then you will inevitably know the tracks from the late ’90s that saw him become a major player in the Rawkus boom, providing beats for Mos Def, Blackstar, and a host of other artists at a time when hip hop was still in the wake of the golden era.
Featuring production from Shawn J. himself as well as T-Ray, The Beatnuts and Stretch Armstrong, the beats here are what you would expect: horn loops/stabs, big drums and funky basslines. The album is in fact split between a ‘south’ side (the first six tracks) and the ‘north’ side (the rest of the album) but to be honest this split is rather arbitrary as the sound throughout the album is relatively consistent. Beat-wise, this is clearly oriented in the east, although there are some nice ‘southern’ touches with the odd country and western guitar appearing that provide a little twist on the stock New York sound. Favourite joints for me are ‘Southern Comfort’ (which interestingly features the same sample utilised by Da King & I on the ‘Crak Da Weazel’ chorus hook) which has a nice summery vibe to it and a slightly cheesy chorus vocal; ‘Lost In Brooklyn’ is a straight up banger with infectious horns and tight snares; and I also like the album closer ‘Open Sesame’ which features classic Beatnuts production and verses that revolve around cracking open a brew and indulging in some fine liquor (content that the Beatnuts are no strangers to).
MC Soda Pop does a good job on the mic, although I think it would be fair to say that his verses are nothing sensational. The southern influences in production carry over into the rapping with multiple references to their roots in the lands of ‘tractors, rakes and hoes’, and Soda’s flow is capable enough to be carried by the quality of the production work underneath him. The presence of DJ Myorr is also felt on the record, handling all scratch duties and even scoring himself a DJ only cut, ‘Oh My’. Ultimately, the trio work well together, and any weaknesses in specific areas of the work are easily forgotten by the cohesiveness of the record overall.
‘Lost In Brooklyn’ is unlikely to blow your mind, but it is a solid effort that stands up relatively well amongst the plethora of quality releases that ’94 witnessed. From my Google searching for images and a bit of info, it also seems like this may have gone pretty much unnoticed, as the pickings were slim. This is a shame, as this album deserves to be dusted off and given a little bit more recognition than it seems to have done since its release: give it a listen and help it along its way.