What's up y'all? This is ya boy Samfry with a new edition of One for the Treble. 2004 is lookin' to be an excellent year for hip-hop and R&B, as far as quality of released material. Although we've had our share of disappointments this year, the first six months of ‘04 have been somewhat satisfying for this hip-hop fan. On the local tip, BLUE SCHOLARS have been making moves around town doing shows and snatching “The Seattle Weekly's Album of the Year” award. Personally, their CD is not Samfry's can of beer—I think they need to step up their production. A lot of the tracks on the album have a somewhat dated sound and the lyrical content borders on too goody two shoes for Samfry's heathen ass to relate to. Hey, but what do I know? Obviously they have fans that disagree, and despite my critique, it's good to see local hip-hop receiving that well needed support from the public at large. And the fact that GEOLOGIC is a dope MC who's paid his dues on the local battle circuit, as well as helped put together the Asian hip-hop exhibit earlier this year, makes it easy to root for the Scholars.
For you R&B enthusiasts, Samfry definitely recommends the latest release from ANGIE STONE. For those who are unaware, Ms. Stone was one third of the pioneering all-girl rap group the Sequence back in the late ‘70s/early-‘80s on Sugarhill Records. Angie B, Cheryl the Pearl, and Blondie hit us with hip-hop classics such as “Funk You Right On Up,” “Monster Jam,” featuring Spoonie Gee, and “Here Comes the Bride.” Fast forward to 2004, Angie hits us her third solo effort entitled “Stone Love,” which is getting major play from Samfry. “I Wanna Thank Ya,” featuring SNOOP DOG, is a nice little upbeat Jazze Pha-produced club banger. “Stay for a While,” featuring ANTHONY HAMILTON, is another heater that boasts excellent production and performances from Stone and Hamilton. “You're Gonna Get It” is somewhat of a throwback type of cut that echoes vintage Smokey Robinson love ballads. Even the interludes are off the hook. All in all, if you only even have just a passing interest in current rhythm and blues, Samfry highly recommends “Stone Love.” It will be in stores July 6.
Back to hippity-hop, SLUM VILLAGE out of Detroit comes as tenacious as ever with their latest release “Detroit Deli.” This album is a major improvement from their last effort, “Trinity,” which was uneven at best. Many folks, me included, didn't think the Slum cats could produce a solid CD after the departure of their former bandmate and producer J-DILLA. Well I'm not too proud to admit that I have been proven wrong with that assessment. J-Dilla does lend his talents on two of the 15 tracks on this album, ”Do You” (on production) and “Reunion” (on vocals), but up-and-comers BR GUNNA (Young RJ and Black Milk) hold down the production duties on this album like a fuckin' grudge. This is a new and improved Slum Village, in my not-so-humble opinion. Some fans might be disappointed with the absence of one of the founding members (Baatin), and though it would have been nice to hear his eccentric rap style on this album, for some reason I get the feeling that dude is not missed. ELZHI is on his way to becoming one of Samfry's favorite lyricists ever with his complex and clever wordplay. T3 has also stepped his game up on “Detroit Deli” in a major way, and although Elzhi is obviously the superior wordsmith, T3 holds his own. Samfry's favorite tracks are “Intro,” “Zoom,” “Do You” (produced by J-Dilla with an incredible interpolation of the Zapp classic “More Bounce To the Ounce”), “Hood Hoes,” “Reunion,” and the hit single “Selfish,” featuring and produced by everyone's favorite college dropout, KANYE WEST. Three words: COP THAT SHIT.
I've heard new albums from THE BEASTIE BOYS and JADAKISS and I can honestly say that both of those albums are major disappointments. The Beasties' sixth album is entitled “To The Five Boroughs,” which basically means this album is a tribute to New York City. On this effort, Mike D, MCA, and Adrock attempt to bring back the raw sound of old school hip-hop from the early to late ‘80s (minimal instruments with an emphasis on drum programming and scratches) to disastrous results. You would have to be a serious fan of the Beasties to dig this one, for I can't see them gaining too many new converts with this album, but it's been proven that Beastie Boy fans will support them regardless, and expect beaucoup mainstream coverage (i.e. “Rolling Stone” and “Spin” covers). But from this hip-hop aficionado's perspective, “To The Five Bouroughs” is complete garbation. Even though the legendary Beasties will probably never be known for their lyrical prowess, they were always good for catchy, well-produced jams with a heavy breakbeat foundation. This album doesn't even have that, instead it relies on uninteresting drum programming and every old school hip-hop cliche known to man (“Triple Trouble,” “Ch-Check It Out,” “3 The Hard Way,” etc.). But maybe it's just too authentic for Samfry and I'm just hating because I don't get it. I did think the song “Oh Word” was cool, though.
Jadakiss's second album is titled “The Kiss of Death” and it is no better than the “Five Boroughs” album. While Jadakiss is an excellent MC, that doesn't necessarily translate into excellent albums. Too much filler, not enough meat. Besides the Curtis Mayfield sample-assisted “Real Hip Hop,” featuring fellow LOX member Sheek Louch, Samfry is not compelled to recommend this album—even though the Interscope hype machine has Jadas' back.
I'm out… peace till next issue, Samfry
hiphop@tabletmag.com
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