An Atmospheric Journey, pt.1 - Overcast!

Sorry about the slightly pretentious title, everyone. It's all I could really come up with. Still, I hope we can agree that it's an improvement on "Murs-athon" (read some of that over here, or don't - I'd rather you stick with this one first). 

Hey readers! You may remember that around August last year, I promised to do discography reaction/reviews to a bunch of different artists, and then ended up doing none of them because my college work got in the way. Well, since college is finally pretty much at a close, I'm ready to jump headfirst back into this blog, which you may have already noticed from me starting to post semi-frequently over the past couple of weeks. And today, I'm starting something I've been excited about for a very long time, and potentially one or two of you have anticipated too - an in-detail look at the discography of underground hip-hop outfit Atmosphere. Hence the title. 

As you probably know, Atmosphere is a producer-rapper duo consisting of Ant (producer) and Slug (rapper), who rose through the ranks of the saturated late '90s/early 2000s hip-hop scene to become one of the most well-respected and prominent acts of the era - with their Rhymesayers record label later becoming a home to other such legends as Aesop Rock and MF DOOM. Back in 1997, however, when they released their debut album, Atmosphere were not only unknown outside of their home state Minneapolis, but also not even the same group. According to the cover art of the CD I have in front of me, there are five members - Slug, Spawn, Beyond, Ant and Stress. Now there's a list of words you'd never think would fly as stage names. However, Beyond is listed as a feature on two songs on the back cover, so I guess he's just an affiliate. And while I have no idea about Stress, I am aware that Spawn was an official member of the group at this time, and an MC at that, so it'll be interesting to see how he fits in on this album. 

The LP is long with little features and only one producer, which is inevitably slightly daunting, but hopefully these guys will be able to pull it off. And while this did come out in 1997, the same year as Murs' F'Real, I am expecting a far more polished sound than was found on that album - mind, I'm not expecting Funcrusher Plus here either, as the group's most praised work is to be found later on in their catalogue. Maybe it'll be a middle ground, who knows. For now, I am so excited to finally get into this discography that I've been waiting to hear for so long. 

So without further ado, I give you... Overcast! 

All songs are produced by Ant. 

1. 1597

Well that was a banger. On this track, Slug introduces a slightly yelpy vocal delivery that sounds far more menacing and passionate than it does silly, over what can only be described as a fantastic and brilliantly eerie instrumental from Ant - this beat is intense and creepy, and could easily have used a sample from a horror film soundtrack - perhaps it did. The lyrical content on here itself isn't particularly unique, as it mainly consists of bragging in slightly off-kilter ways (for example drumming up the nasty image of callouses on the brain), but the rhyme schemes and vocal delivery from Slug certainly make up for it, as they are incredibly impressive and unique - did I mention his vocabulary is already very diverse throughout this opening track? Spawn only pops into the song for a verse at the end, which annoyingly spends half its time fading out, but from what I could tell he was pretty great too. This has certainly got me excited for what's to come, which really is all an opening track needs to do. 

2. Brief Description

Pretty standard stuff for track two on a debut hip-hop album - the first track surrounds where he's at now, and the second examines his roots, as here Slug laments on what made him and where he began to find his love for hip-hop. This makes the track lyrically more interesting than the opening track, even if the flows here are nowhere near as in the pocket, instead sometimes sounding like Slug is just saying his lines as fast as possible rather than actually rapping them - still, he's developing, and all beginner rappers do this at some point on their debut. And the song itself is great - Ant's beat is groovy as fuck with a dope sample to begin, and "the passion for being the best puts the quest for allies to rest" is an Aesop Rock level way of saying that competition leaves a state of every man for himself. I love it. And as a whole this is great - the beat is sick and the lyrics are even sicker. Banger. 

3. Current Status (feat. Beyond)

And we're straight back to some "I'm better at this than you are" shit, once again with an eerie beat (although more hip-hop and less horror compared with that on "1597"), only this time with a guest appearance from Beyond - and once again, Spawn fails to show up. Still, Beyond handles his time in the spotlight well on his opening verse - his deep drawl and his menacing cadence is the perfect fit for this beat, and as silly as it is I absolutely loved the line "I didn't buy your tape 'cause pussy is cheap". He had a great verse, but I won't knock Slug either, who knocked it out of the park once again - "emcees need to take their bras off and burn 'em" is great, as insensitive as it is. This track is great underground hip-hop, and actually has a pretty good chorus too. Nice stuff. 

4. Complications 

Even though, as far as I'm aware, Slug is the one who is known in this group for making songs about relationships, it's Spawn who has the first in the catalogue, as aside from a couple of Slug monologues this is a Spawn solo, and on it he discusses a relationship that he's deciding to break apart for varying reasons. The instrumental on here doesn't really seem very suited to the topic at hand, as it's about as suited for a break up song as a chorus from Lil' Jon, but I think Spawn does make it work, even if having this instrumental makes the track seem weirdly eerie - like the last few tracks come to think of it. This chorus is frankly terrible, with an obnoxious vocal from Slug in there that sounds like he's trying to tell this woman a few things while incredibly drunk, even repeating himself. However, I found the verses here pretty entertaining, and I especially liked the cop-out at the end. Weird how the worst part about this whole song was Slug, even if I did find his interlude where he talks to the girl about her being a distraction for Spawn pretty humorous. 

5. 4:30AM

I guess this is the chilled out, stoner cut of the album, as it features a chorus that references marijuana, as well as more of a laid back instrumental compared with what's been heard so far. And I really liked this one. It's one of the shorter tracks on the album, but I think that works in it's favour as a quick break from the more intense and darker sounds we've heard up to this point, and Slug's two verses on here about ripping up the competition are absolutely great - although threatening to leave the listener "mute and celibate" isn't exactly getting your audience on your side, is it Slug? This song also samples Company Flow member and resident number 1 on my all time greatest artists list El-P, so how the hell exactly could I not like it? This one's a banger. 

6. Adjust (feat. Beyond) 

A bit of an anti-drug track here from Atmosphere, and also quite possibly my favourite song yet. Not because of the repetitive chorus from Beyond, or even Ant's beat, which is still dope with it's slow pace but not one of the best. No, this one is down to Slug's lyrics, which are easily the best yet and start to show why he's regarded as one of the best rappers of all time. Let me just give an example of some lyrics I love on this song - "Life: probably the biggest word I've ever said / that says a lot, 'cause there's a whole lot of words inside my head / death almost a quarter deep, still ain't learned to cope / I struggle to see the horizon while I'm hanging from this rope". I just love how these lines are written and the deeper meaning behind them. And I also love how Slug structures his writing on this song - he brings it from some storytelling shit to slowly making his message more clear throughout the song, and I think it's a creative way of engaging the listener and getting a strong message across. Yeah, this is probably the best track so far. This is excellent. 

7. Clay

When I was going into this album I was under the impression that it was going to be an underground battle rap type of album full of boasts, disses and youthful anger, and while that's kind of how it started, already we're getting into some much deeper shit. On this one, Slug pretty much reveals himself to be suicidal, depressed and mentally unstable, with lines such as "I grip this mic tight because it's really all I have a grip on" revealing a far more tortured artist than some of his contemporaries at the time - it's very clear that Atmosphere were a unique act from early on, and it's no wonder they built such a fanbase so quickly. And while this isn't the best track, due to a slightly annoying chorus and an instrumental that's a little too grating, I do find that Slug's lyrics here are highly impressive. This is great. 

8. @

A record-scratchey interlude from Ant which builds up this mood of intensity and darkness, only with an almost poignant feel throughout it. I always love how these underground albums would have scratches that were bought together to create new sentences relating to the music. Also, this is just one of the best beats on the album so far. Nice interlude. 

9. Sound Is Vibration

If I were a record executive, then I would have chosen this track as the lead single for this album, even though I don't believe this thing had any official singles. The track seems to serve as a "signature song" type of thing, with the poignant and truly excellent instrumental serving as a great backdrop for Slug and Spawn to do a dope ass back and forth verse, something that's been missing from the rest of this album so far. I especially love those chants of "Now who makes the music, now who makes the sound?" towards the end, serving as this reminder that Atmosphere are the shit and the next big thing. The track has a confident feel to it that not many of these other cuts do, and I think that means it earns a strong place within this tracklist. This was a dope cut. 

10. Multiples 

More back and forth? Yes please! This track apparently samples some music from Star Wars: A New Hope, which... I mean how cool is that? And that's what goes for the rest of the song too - the instrumental here is positively banging, kind of reminding me of the beat on the later Aesop Rock track "No Regrets", and the way Spawn acts as a prompt for Slug on verses 2 and 3 is incredibly creative and gives the track an incredibly unique spin - uniqueness being something I commend this album on so far. Spawn's first verse is spit alone though, and that's also one of the best moments here, with him spending it admitting that he isn't going to make anything up, even if he has to look lame next to the typical rapper for being scared to deal drugs. The verse is quite funny really. Overall, this is one of the funnest tracks on the record so far. 

11. Scapegoat

The most notorious song from this Atmosphere debut is this track, "Scapegoat", with it's cold and icy instrumental, slow and dusty drum tempo, and highly depressing lyrics about the state of the world - basically the least radio friendly track here, and yet it's also the biggest. Huh. Still, I can really see why people like this one, as it's bluntness has it standing out amongst some of the other, more abstract stuff that was to be found in the underground at this time - here, Slug paints an apocalyptic picture that just so happens to also be a list of everything he finds wrong with current society. The song also has a deeper message though, about how some people look for everything they can to blame for their own fuck ups, as long as it's not them - that explains the title, the chorus, and the sarcastic "in reality, fuck it, it's everything but me" sentiment at the end of both verses. There's a lot to be read into here, and the end result is one of the most interesting songs on this record, and also one of the best. I mean, how can you not love that haunting instrumental?

12. Ode To the Modern Man (Lightning Blend)

I'm not really sure what "lightning blend" actually refers to in here, nor am I sure why exactly this song serves as an ode to the modern man - instead, all it seems to ode are Slug and Spawn's egos, as this is another track where they big themselves up for four minutes, over a funky ass, guitar leaden beat by Ant that stands as one of the best on this album so far in my opinion. Unfortunately, the title is a bit misleading here, as lines like "once I climb the skulls of this MC graveyard" and "you have only one chance to advance to the next stage I'm at" are not very relevant to the topic at hand at all, and pop up all over this one. This track is still good though - the beat is sick and the rhymes are nice, so what more could I ask for? It's dope. 

13. WND

WND seems to stand for "Writers Never Die", and on this track Slug attempts to prove that by showcasing his storytelling skills. The track is written from the point of view of some wannabe gangster rapper who openly asks some girl to fuck despite having a girlfriend already, only for Slug to turn up and chin check him. He then goes home to get his gun only to realise he doesn't have one. It was brave for Slug to write this one, given most people probably didn't know his name was Shawn and thought he was writing from his own perspective, but it's a risk that pays off, as the storytelling here is fun and compelling, with the last line being particularly amusing. Also, the instrumental here is one of the best on the album. Dope stuff.

14. Multiples (Reprise)

Not really sure what this has to do with the earlier track it's supposedly a reprise of, but I still found this fucking impressive. Seriously, go listen to it. Slug tries out a fun lyrical exercise over some incredible Ant production here, and the results are great. 

15. Caved In

A solo Spawn song about the death of his father, and what seems to be the emotional high point on this album. Ant provides a softer instrumental here in comparison with what we've heard throughout the rest of this project, and Spawn uses it to spit two incredibly heartfelt verses that are enough to bring a tear to the eye. And I'm not going to act like every song about the loss of a loved one is great - I actually think this one is particularly well written and includes an instrumental that feels very suited to the feelings of grief. And on the chorus here Spawn sounds like he's realising the reality of the death and working through it, which is often what writing of a song can do. This song is great, and one of the best on this record in my opinion.

16. Cuando Limpia El Humo

Spanish for "when the smoke clears", which becomes pretty obvious when you hear this track, what with how many goddamn times the phrase is repeated. Still, I did enjoy this one, as it once again features more of a back and forth type of structure, with Slug and Spawn bouncing off of each other with undeniable chemistry over a cool but kinda repetitive Ant beat that I certainly wouldn't say is close to his best work on here. It's decent though. "The world tends to make me introvert" - well that's a slightly convoluted way of saying "I'm introvert". Just joking - I do like this one, even if it doesn't stand with the best this LP has to offer. 

17. The Outernet

I guess the internet was starting to gain serious traction in 1997 (hence the "@" symbol that appears all over this packaging), and so Slug decided to play on that by attempting to build some kind of "network" of MCs on this song - effectively attempting to end the petty competition and the putting down of other rappers that the underground might have seen frequently back then. Yes hip-hop is the genre with the most artist crossover (just look at all the features hip-hop albums have), but it also is the genre with the most competition, and despite having multiple songs earlier on about how he's better than the competition, here he goes against that ideology. I guess Slug grew up and became more mature during the hour this album has been on for. Still, this song was kind of the fucking shit - Ant's instrumental is positively beautiful, and does actually kind of remind me of Funcrusher Plus a bit, and Slug's lyrics are fantastic, with him painting a picture of what the MC world is like now, and also where we can take it. I also dug the bit where he attempted to draw a bridge between the lyricist side of a rapper and the emcee side of a rapper - the former being competitive and demanding respect, and the latter bringing everyone together. He's just trying to find a balance... get it? Anyway, this song was fucking awesome, maybe my favourite on the album. It's so good. 

The following is a hidden untitled track. 

18. [Untitled]

Track 18 consists of two songs, the first of which is sadly mostly forgotten about after the emotional intensity of the second. The first is commonly referred to as "Overcast", and is musically similar to "The Outernet", as Slug and Spawn spit a verse each, with Slug's being particularly violent, seeming to refer to a fight he's having with someone. The track is cool, but it's the other song here that's far more impactful, "Primer", a track that was originally released as part of the Overcast! EP along with some of the other songs on this album. This track features Slug narrating from the point of view of an abusive husband, and it's an odd song if one that is very impactful. The track depicts the mentally abusive and manipulative ways the abuser can keep the abused with them, whether through feeble attempts at flattery (the cry of "I love you" at the end), or though power ("I own the Camaro and the mobile home, so where the fuck you gonna go?"). The song is harrowing, but incredibly well written, and paints a strong image of why some people who are abused may end up staying with the abuser for long periods of time. I mean it's depressing as shit, but it's very good too. I wouldn't put it on while I'm cooking though, or in the presence of my family. Or anywhere, for that matter. 

Atmosphere's debut album is truly great. It contains everything it needs to be considered a classic of late '90s underground hip-hop, with very little in the way of flaws to be found across the total 19 songs. On this album, Slug introduces himself in a fashion that not many would be bold enough to do - yes he adheres to some of the braggadocios and overly confident ideologies expected of upcoming MCs at the time, but simultaneously he also lets the listeners in on his insecurities, his past, and also his outlook on the world and all its flaws. Meanwhile Spawn, while his screen time here seems to be far shorter than that of Slug, gets his message across too, acting as a more rational and less zany voice to keep the project from ever spiralling into insanity - and his dedication to his father was also one of the most powerful tracks here. Also, Beyond does his thing on the features. And as for Ant's production, while not every beat here is great, he does show himself to be incredibly talented with the samples, while also showcasing a knack for creating incredibly head-noddable drum beats, especially notable on the first track here. And some of these samples are fucking awesome - I mean, he literally got one from a Star Wars soundtrack. What other producer would be bold enough to try that? This album as a whole really does feel like what you might expect from the album cover - it's bleak, dark, has elements of horror... but also it has fun elements too, with tracks like "4:30AM" and "Ode to the Modern Man" breaking up some of the darker and more serious moments here. And when it does get serious, it's some of the best written hip-hop of its time - try "Adjust", "Clay", or "The Outernet". I won't pretend like it's perfect - some of the beats are too repetitive, some of the hooks are weak, and frankly this thing could have benefited from being a little shorter. But nonetheless, this is an incredibly strong start to this Atmospheric Journey, and makes me incredibly excited for what's to come. I mean, if this isn't even considered their best, we must be in for some sick stuff down the line. For now, Overcast! is awesome, and if you haven't I highly recommend checking it out. It's the perfect marriage of beats and rhymes, with very little drawbacks. This album is dope!

BEST: "The Outernet"

WORST: "Cuando Limpia El Humo"

More Atmosphere reviews soon to come!

Murs-athon pt. 17 - Brighter Daze

The years 2014 and 2015 were some of the most successful of our old friend Murs' entire career. In 2014 he pulled a strong career move, aligning with the at-the-time red hot Strange Music label just as they were hitting their heyday. In this year he not only showed up multiple times on Tech N9ne's Strangeulation album, but he also teamed up with ¡MAYDAY! for a collaborative album called ¡MursDay!, which I may write about on here one day if I feel like it. These both created some of the more recognisable Murs tunes, such as "Hard (A Monster Made It)" and "Tabletops". And to top this off, in 2015 Murs released yet another solo album to add to his illustrious catalogue, called Have a Nice Life, which happened to include his most streamed song ever, "Okey Dog", which I must say is a bit of a banger. 

Personally, I liked Have a Nice Life but I didn't love it. Some of the music in there was a little too mainstream, and some of the lyrics a little too corny, even if there are some fantastic songs throughout it as well. It's a solid album in my opinion, not unlike the last couple of 9th Wonder collaborations. And you see what I did there? That's right, ladies and gentlemen, I cleverly transitioned into talking about the subject of today's post - yet another Murs & 9th Wonder project. Because I guess we just haven't heard enough yet. 

It was far more than rumoured at the time of its release that 2012's The Final Adventure was to be the finale for the classic rapper-producer tag team - I mean, look at it's title for God's sake - but I think everyone who's somewhat a fan of hip-hop will know to never believe statements like these. Jay-Z, The Game, even Kids See Ghosts - they all claimed to be retiring or splitting up never to work again, but it would be the spans of two or three years before they would break that promise. And with Murs & 9th Wonder, that was the case too. Enter 2015's Brighter Daze, awful title included, the duo's 6th album together. Brighter Daze received less than ideal promotion thanks to Strange Music practically blotting it out of existence, since they didn't get to release it on their label (meaning no more hits for Murs this time), and there wasn't even a CD released for it, which pisses me off to no end. I need it in the collection Goddammit! The album did differ somewhat from previous Murs & 9th Wonder albums, however, by being 12 tracks rather than 10 like all their previous projects (what a shocker!), and having quite a large guest list as well, with names such as Problem and even Mac Miller making appearances. 

But was this album any good? Well, if it's on the level of The Final Adventure I'll be happy, but if it's anything like that godawful Sweet Lord, then I certainly won't. I hope y'all enjoy the review!

Every song is produced by 9th Wonder

1. The Battle 

Besides the absence of a shout of "what up tho" at the start, something that is sorely missed on some of these later Murs albums, this shit was actually an excellent way to begin the album. 9th Wonder's production is jazzy but also high energy and intense, with fantastic percussion and bass complimenting the sound horns, and Murs' relentless verse that seems like it'll never end is better than almost everything on the previous album (except maybe the title track). Murs' lyrics revolving largely around how you can't fuck with him are nothing to get overly rowdy about, but they are enjoyable nonetheless - a Wu-Tang shout is always appreciated too, even if that particular bar is kind of lame. This serves as more of an introduction than a true structured song, but as intros go - it's pretty dope I have to say.

2. God Black / Black God

It seems Murs has further upped the ante on this absolute banger of a track, with a beat switch towards the end for good measure. The first instrumental on here is pretty beautiful though, with what in my opinion is one of 9th's better sample flips, and Murs spits some dope rhymes on here, where he denounces the legalisation of weed in LA, and also other rappers for glorifying violence. Murs paints himself as a true leader for his people on this track, but somehow doesn't come across as preachy at all, instead bringing some strong points to the table - and it's all helped by the fantastic beat. A second, more hardcore sounding instrumental joins us towards the end as Murs spits a final verse, and I really like that. I've been feeling that Murs' work has been a little too formulaic in my recent reviews of his, so it's cool to have a dope beat switch in there to give me something to be excited about. I fucking loved this one. 

3. How To Rob With Rob

Murs is back on some storytelling shit for this one, with a darker and more harrowing take on songs like "Trevor An' Them" and "L.A. Story Pt. 1", where he tells one concise and very easy to follow story in the form of a verse. The instrumental on here is probably my least favourite so far - the sample is a little too intrusive, and the beat a little too slow paced - but the rapping from Murs certainly makes up for it. I won't spoil the story, as you can go listen yourself, but I will say that it's yet another example of just how great Murs is at laying out a narrative as a rap. He's honestly one of the best. Great track. 

4. Lover Murs

Now this one is not on streaming, as it's one of two songs removed from the streaming edition of the album put out in 2019. And maybe that's a good thing, because while I really like 9th Wonder's incredibly familiar beat, Murs kind of fucks this one up by getting a bit too detailed about his sexual relations with this unnamed woman (potentially the same one he was cheating on in "The Worst"?). I appreciate that you want to express love for this woman, but unfortunately this type of hip-hop is not the place for that. Maybe go collaborate with The Weeknd and then it will work, but unfortunately one whole verse about how you "make them legs spazz" isn't exactly appealing to anyone except for yourself. Thanks, but no thanks. 

5. Get Naked (feat. Problem)

I don't know whether to laugh or cry at that title. This track right here is a collaboration with the man formerly known as Problem, who is now going by the far stupider stage name JasonMartin for some reason. And yes, ladies and gentlemen, it's another explicit sex song. Thankfully, this one is a little less insufferable than the previous one, even if it does have its moments - hell, at least this one seems somewhat self aware of what it is. I think the chorus would potentially have been funny too if they didn't keep repeating that annoying-ass rewinding sound - what the hell is that about? Murs' verses are decent though, barring some of the cringier moments (like when he rhymes "dictator" with, you guessed it, "dick later"), and I actually enjoy Problem's slightly off kilter flow on here a lot too. Yeah, it's still kind of weak compared to the first three tracks, but it's not bad - hell, what could be with this dope ass instrumental?

6. The Shutters (feat. Reuben Vincent & Bad Lucc)

Finally we've left the dodgy sex songs behind, and we're back to the fucking dope shit. Because that is very much what this is. This track is straight up rapping with no bullshit hooks in sight, as the three MC's showcase their unique styles over an intense and positively fire 9th Wonder instrumental. I reckon Bad Lucc might have actually had my favourite verse - he sounds like Big Scoob without the dirty south drawl, and I'm here for it. Reuben and Murs both absolutely kill it too though, with Murs having a fantastic opening verse on here that really sets the tone, and is somewhat prophetic as well ("grey dreadlocks" seems to be exactly what Murs is rocking right now). This was some absolutely dope shit - at this point in Murs' career it really doesn't get much better. 

7. Wait... Back It Up

Yes, this is another "song for the ladies", but it's not really. This song is more about how you shouldn't let your lust control you, because it could potentially end up ruining the relationships with those that truly mean something, and I really fuck with that concept. The track details how Murs is not only acting like a different person and losing touch with his homies, but he's even sinking to the point of not wanting to see his kids because he's too busy spending time with this woman. It shows a new level of growth for Murs, who's older love songs were simple and surface level. And not only that, but the chorus interpolates A Tribe Called Quest, which I love, and the instrumental from 9th Wonder is relaxing and totally beautiful. This is honestly a sick track.

8. If This Should End 

Up to this point the emotional high of this record, a dedication to Murs' wife, who's relationships with our host seem to be getting a little rocky at this point - and I am aware that Murs' 2018 record A Strange Journey Into the Unimaginable is about the divorce they eventually had, so obviously it didn't get better. It makes that transition from "if this should end" to "when this shit end" in the chorus that much more heart-wrenching. I honestly do feel like this song could have been slightly better though, even though I really like Murs' verses and overall concept here, of finding why it's gone wrong and why they need to move on. I think Murs has admitted that he's not great at writing hooks, but for some reason he continues to do them, and this one is... kind of bullshit? It's just too fast for the repetition to work, and even though the transition I mentioned earlier is powerful, the bit before it is just kind of annoying. Furthermore, 9th Wonder's soulful beat doesn't really match the heart-wrenching lyrics at all. This is good, don't get me wrong - I just feel like it could have been better. Also, that "Houston we have a problem" line... oh dear.

9. Walk Like a God (feat. Rapsody & Propaganda)

Another sequel to "Walk Like a Man", and after the mediocre "Walk Like a Woman" from The Final Adventure, I think Murs has redeemed himself, as I loved this shit. However, that's more down to Rapsody than Murs himself, as her verse here is for sure one of the best on the entire record, as she laments on how different religious beliefs, including atheism, don't make you a worse person. But it's her bar at the very end "every saint got a past and every sinner got a future" that I was particularly impressed by - that's a truly excellent line, and one of those that really makes you think. Propaganda, a Christian rapper whom I had never heard of before until today, also shines through on this cut, with the lines "there were times I felt hip-hop was God's gift just for me / can't verify it but sure can't deny it" being some that I'm sure many relate to. My personal beliefs in God? I'm not sure. But I do know that this certainly offered a great commentary on the uncertainty of who or what He is. This was really good. 

10. Otha Fish

An actual cover of The Pharcyde's song of the same name - well I certainly didn't see that coming. This reminds me of when Murs sampled The Pharcyde on "Never Eat" off of Good Music. Man, I still love that album to this day. Unlike his cover of "I Used To Love H.E.R.", this one is pretty much a word for word copy of the original song, so there's not much to say, but I do think it's interesting that he did it. Covers are very much something hip-hoppers tend to avoid (probably due to the competitive roots of the genre), but it makes sense that a spokesperson for peace like Murs would be the one to do one. So I fuck with it. 

11. No Shots (feat. Mac Miller, Vinny Radio, Franchise & Choo Jackson)

Shit is fuckin' DOPE! This posse cut features legend of 2010's hip-hop Mac Miller (R.I.P), alongside a bunch of his apprentices, all over what has to be the absolute best instrumental over the course of this entire record. 9th's relaxing and jazzy beat is perfect for a chill posse cut like this, and no-one disappoints. I absolutely love Mac's singing during this chorus, and his verse ain't half bad either - but it's Murs who might be the star of the show here, with an incredibly strong showing on the final verse, which is long as hell but full of great bars. Man this instrumental is good. Why the hell didn't they put this song on streaming? It's gotta be the best song on the album. I'm sorry, it just has to be. 

12. Murs SuperStar

Murs ends the record on a poignant note with a sentimental instrumental from 9th Wonder, and verses from Murs surrounding his current situation being very different from where he started, and also how he likes being an OG of the game - then again, who wouldn't. He even makes reference to his debut album F'Real on here. This song wouldn't really work that well on its own I don't think, and doesn't have nearly as much replay value as the previous track, but as a closer here it works well, and sounds nice. A dope ending to an even doper album. 

I think I've discovered Murs' best album since 2011's Love & Rockets Vol. 1, and that album was absolutely incredible so that's quite a feat. This thing isn't quite incredible, but it's certainly very goddamn good, and I think that's down mainly to 9th Wonder's production. On Fornever and The Final Adventure, Murs was (almost) always on form, showcasing dope ass storytelling and writing, with his voice that really came into a new, deeper form during his 2010s projects, in a good way that is, of course. However, I felt like 9th could sometimes be inconsistent with the beats on those projects - some were great of course, but some felt a little cheap, with his sampling also often coming across as a bit intrusive. But on this album, 9th Wonder's production is consistently excellent, with almost every beat here not only sounding great, but fitting the lyrical themes of the tracks perfectly as well. In fact, it's Murs who's the more inconsistent here - most of his lyrics are dope, but some of these one liners are painful, and a track like "Lover Murs" should never have been written in the first place. Don't ask me what he was doing with that. But when it comes to the high points on this project, it's all laughs, because there's some truly dope shit, whether that be in the form of great solo cuts like "God Black/Black God" and "Wait... Back It Up", or some of the posse cut tracks on here, with "No Shots" being probably my favourite song on the entire album. This isn't a modern classic - I don't think there's going to be too much replay value here, and it has it's down moments - but it is a great record, and in the right setting it's hugely fun to listen to. Brighter Daze is a nice surprise, and hopefully down the line Murs can continue a solid streak - next up are his other two records with Strange Music, which hopefully aren't quite as overly polished as Have a Nice Life. I look forward to writing about those - for now, you guys go check out Brighter Daze, and make sure you find "No Shots" on YouTube - I'll promise it'll be worth it.

Expectations: Exceeded 

Best: "No Shots"

Worst: "Lover Murs"

Find more of the Murs-athon over here!

Live & In Colour: Common - Be (20th Anniversary Edition)

Friday was my last actual day of college (I still have a couple of exams left), and you know what that means - I might consider actually getting consistent with this blog again! Fingers crossed, touch wood, etc.

More importantly, however,  yesterday was the 20th anniversary of what in my opinion is one of the greatest hip-hop records ever created, Common's 6th studio album Be. I've already reviewed this album on the blog, so if you'd like to check that out you might consider heading over here. However, to commemorate the original project, Common decided to unleash even more material onto the public - that being a blatant cash grab aside (similar to all the Expanded Editions Eminem has been putting out recently, filled with nothing but instrumentals and live recordings, rather than something anyone outside of the most obsessive Stan would actually care about), I was excited to hear about this release, but ended up being disappointed anyway when on the re-release there was a total one completely new song that I had never heard before.

Still, given how much this album means to me, and how I still want to support Common given his strong work ethic into the current decade, I figured I'd give this release a review anyway. And I am excited to hear that one new song. 

1. The Corner - Remix (feat. Mos Def & Scarface) (prod. Kanye West)

I've already heard this one, since I picked up a generic sleeve vinyl single for it a while ago (I'm somewhat of a completist). While on it's own the song sounds fantastic, I can't help but think I actually do prefer the original. It makes sense, since Lonnie is my favourite rapper of the three here, but even then I think his three verses on the OG are better than the new one he kicks on this star studded remix. The instrumental, chorus, and Last Poets parts are all exactly the same here - in other words absolute perfection - but with a True Magic era Yasiin and a My Homies Part 1 era Scarface, you aren't necessarily getting these guys in their primes, and it shows here, as neither verse particularly stands out as fantastic. I especially dislike the second half of Scarface's verse, where he begins to end every bar with the same word - like that has ever sounded good. Still, I do like how Common got some other big names on this remix, and I have to say I am a fan of his verse here, which does have some impressive rhyme schemes. This is good - just doesn't stand to the original in my opinion.

2. The Corner - Last Poet Reprise (feat. The Last Poets) (prod. Kanye West)

Basically just an instrumental version of the song with some extra words from The Last Poets (not that I expected more from the title). Still, the chances of me choosing to listen to this again are about as high as the chances of 50 Cent releasing another good album. 

3. GO! - Jazzanova Remix (feat. Joy Denalane & Jazzanova) (prod. Kanye West)

Unexpectedly, I actually kind of... prefer this to the original? Granted barely anything has changed, but I was never the hugest fan of the Kanye West chanting on the chorus of the OG, and to have that replaced with some frankly beautiful female vocals that fit perfectly over this instrumental can only have been a good thing - and it really was. If you like the original but find Kanye's part to be a little too repetitive like me, then please check this out - it's brilliant. 

4. The Food (prod. Kanye West)

Many were head over heels to see that the studio version of this track originally only widely available in live form was finally getting a release on streaming, which was odd to me, since a lot of people seemed to think that the track being live helped give it a certain energy to give Be a more hyped up feel. Still, I guess this version of the song is cool, even though the live version was definitely the better choice for Be - this studio version would be kind of a mood killer after the aggressive "Chi-City". But on here it works - I really like this. 

5. So Cool (feat. Sa-Ra) (prod. Sa-Ra)

So I already wrote about this on my original review for Be, since it's a hidden track on my disc, but I will say here that I do like it a lot, despite it's overwhelmingly different atmosphere to the Be album. Yes, Common's verses on this song are kind of goofy, but my god is the chorus good. Check it out. 

6. The Movement (prod. J Dilla)

Here we are - the main reason why I actually decided to review this re-release in the first place. This is the only completely new song to me, although according to Genius it had been previously released as part of the NBA 2K6 soundtrack. Unfortunately, this doesn't sound anything like either of the J Dilla produced tracks on Be, nor does it sound like a Common song at all. This shit sounds like an outtake from Universal Mind Control if anything. On this cut, Com handles a more electronic Dilla instrumental, kind of like some of what he produced for Busta Rhymes on Genesis, and I have to say it hasn't aged massively well. It's not a bad beat by any means - it's just that some of the sound effects in here are a little too bleep-bloopy, and do sound straight out of 2005. The thing is, Common's album Be aged timelessly, while this song sounds like an attempt at a club banger by someone who just isn't suited to them - kind of like that weird "The Jump Off" track that Mos Def had with Ludacris. Also, the chorus sucks balls. I don't think this song is bad - it just really isn't what I or anyone else is looking for with Common's music. 

You know what, I'll let this one down easy. Yes, some of these weren't very good, or anything I would want to return to, but with anniversary editions it's difficult for an artist. The fans want to hear new shit that you recorded for the album but didn't release, but the problem is that there's an expectation for that stuff to be almost as good as the album stuff - when in reality there's probably a reason the tracks were left off of it. That's why, while "The Movement" was a bit of a disappointment, I won't blame Common for it. As for the rest of this, it's okay. The versions of "The Corner" aren't anything special, but please do check out the remix for "GO!", as it is kind of superior to the original in my opinion. And as for "The Food" and "So Cool", they're both pretty great too. 

Perhaps the worst outcome of this post is that it has reminded me what I'm reviewing next in the Common discography - 2008's Universal Mind Control. Wish me luck, everyone. I'll need it. 

My rating: 7/10

Catch up on a ton more Common over here!

Live & In Colour: Xzibit - Kingmaker

(Debuting a new series - "Live & In Colour", where I listen to brand new albums from artists I'm already familiar with. I told you guys I was gonna start doing more new stuff!!)

Xzibit is an interesting career study. The man begun as a West Coast underground MC affiliated with Tha Alkaholiks, who made a name for himself among the more hardcore hip-hop heads for his aggressive and punchy rapping, and his albums which blended humour, reflection, and moments of murderous rage. His debut At the Speed of Life is one of the strongest albums of the mid '90s in my opinion, with hits like "Paparazzi" and "Eyes May Shine" cementing him as a force to be reckoned with (even 2Pac was threatened - one of his fellow Outlawz even found time to diss him on Pac's Makaveli posthumous record). And after his even better sophomore record, X managed to find himself in the company of the likes of Dr. Dre, Snoop Dogg and Eminem - not a position to be sniffed at, especially at the turn of the millennium when these guys were the biggest names in hip-hop. His third album Restless was expected to catapult him into legend territory, but despite it being a pretty great record it didn't really do that - sure it charted, but you certainly won't have seen it put up against 2001 or Doggystyle, even at the time. Soon after, X was approached by MTV to host a new program about turning people's cars into nightclubs, called Pimp My Ride, and while this did make X a household name, it also heavily tainted his reputation as a legitimate MC, and his output from 2002 to 2006 went largely under the radar, with the reception from those who actually bothered to listen being lukewarm. 

When Pimp My Ride ended in 2007, Xzibit celebrated by taking part in the Gumball Rally (no, seriously), but the partying was short lived, because the lack of attention towards any of his music meant he found himself in financial trouble. He had alienated almost all of his past collaborators, and his image was nothing more than a now stale joke to most music fans. He went through a dark time, but got back on his feet in time for 2012, when he released what for a long time was recognised as his final solo album Napalm, an album which I'll wait to review before sharing my thoughts on. But what the album did seem to do was show the world (or the tiny percentage of it that actually listened) that Alvin Joiner was back on his feet. Through the 2010s he actually released some other projects as part of a group called the Serial Killers, but it wasn't until 2022 that he announced another solo effort might be coming. I remember being hyped when he announced a new album on his instagram late that year, but unsurprisingly this excitement was unfounded, because like many hip-hop artists nowadays this announcement came with a wait of two years before he would drop the lead single. Maybe the album should've been called Restful instead. 

And yesterday, he finally dropped the album. The pretentiously titled Kingmaker comes with a predictably shoddy album cover, and a tracklist longer than any he's attempted before (well, in terms of amount - for having 20 songs this thing is short, at just over an hour), which should mean we might be in for some filler. I'm personally not expecting too much though. Xzibit is far past his prime, and even with Dre behind the boards and Redman on the guest list, I'm ready for this to be overly long, packed with filler, and lacking in much substance outside of Xzibit's legend status (well that's what I'll infer from the title). Hopefully setting my hopes low will give us a positive outcome. We'll see. 

1. Play This At My Funeral (prod. Köach)

Even though Xzibit's opening line as well as reference to taking a "selfie" indicate a man who is trying too hard to fit in with the younger generation, I actually thought this track was kind of great. X goes all in with no hook here, even making reference to the fact towards the end of the verse, Prodigy style, and he sounds pretty great - unlike Busta Rhymes, Xzibit has managed to find production styles that actually fit his very gruff delivery, meaning even though he sounds like he's had a pack a day since birth on here, he still doesn't come across like a Disney villain who specialises in gargling gravel. The lyrics and rhyme schemes here aren't Grammy worthy, but they do at least sound like Xzibit put a portion of his heart and/or soul into them, and helped along by some emotional and varied production, the end result is truly great. A very strong way to start the album. 

2. Everywhere I Go (feat. Dem Jointz) (prod. Dem Jointz)

This one sounds like a more updated and less annoying version of the tracks that Jelly Roll would produce for Xzibit back in the day, and I'm all for it - despite the overly repetitive chorus I was a huge fan of this joint. "Hydraulics singing like The Weeknd" is my favourite bar of the album so far just because of how goofy it is, and Xzibit flows with some semblance of self awareness over this banging beat - he really does sound like he's having a lot of fun. This isn't anything crazy, but it certainly is enjoyable, and that's all I can really ask of the man at this point in his career. 

3. Been a Long Time Pt. 2 (feat. Jenn Em) (prod. Dem Jointz)

A not so long awaited sequel to one of the deep cuts off of Restless, "Been a Long Time", a track which actually featured Nate Dogg. It's quite insulting to his memory I would say to have the singing on this track be so bad - all respect to Jenn Em, but she sounds just like one of those robotronic sounding female singers that appeared on early 2000s Xzibit albums, and it does not sound good at all. Aside from the singing (which sadly takes up quite a lot of time) I do quite like this one. The instrumental on here is groovy as fuck, and Xzibit continually improves to still be an entertaining MC - I especially like the self awareness here, where he not only acknowledges that he's considered kind of irrelevant these days, but also flat out admits that his "rap career is finished". I respect that - not many could acknowledge such a thing. Hell, he even refers to himself as an "elephant" on here. Sure, the singing here kind of sucks, but I still like the song. Xzibit is really impressing me so far. 

4. The Moment (feat. Busta Rhymes & JasonMartin) (prod. JasonMartin)

Perhaps I spoke too soon. This is the first song on the album that wasn't released as a single prior (personally I didn't check any of the singles, as I wanted the album experience to be whole), and it's a complete clusterfuck. After a completely random and unnecessary rising sound effect, the track drops in with a predictably awful Busta Rhymes verse, where he uses that weird vocal effect he's been utilising as of late as a desperate attempt to distract from the fact that his voice sounds awful. Seriously, Busta's music ever since the surprisingly great E.L.E. 2 has been a complete spiralling disaster. Xzibit also makes his first truly poor vocal performance of the album on the hook here, where he uses some amateur autotune straight out of 2006 to create the worst chorus I've heard all year. At least his verse is okay. And while JasonMartin (formerly Problem) is alright, he doesn't do enough to save the song, which by the way has the blandest beat yet. Yeah, I think it's best we forget this song existed.

(It's highly likely that this track was rushed onto the album, because it's the only track not seen on advance track listings we saw). 

5. Earth Is Over (prod. Big Duke)

Surely Busta Rhymes should have been on the song with this title instead. This track is kind of overdramatic, but yet and still I found it pretty great. On the first verse here X seems to be dissing some unnamed group, if lyrics such as "when the pawns get lucky and start to close in on the queen" and "put some respect on my name, baby, all three of y'all" are anything to go by - maybe I'll have a look into recent X controversies after I've finished this write-up. I don't know who this Big Duke guy is, but his beat here is certainly entertaining, with an unsettling atmosphere that truly does sound straight out of an apocalyptic film, and Xzibit's lyrics are highly intriguing. There's some Louis Farrakhan samples in there too, because of course there are - this is the album of a veteran rapper after all. Whatever, I fuck with this. 

6. Leave Me Alone (feat. Dr. Dre & Ty Dolla $ign) (prod. Swizz Beatz & Dr. Dre)

Remember when there were rumours that Dr. Dre was going to be producing this entire album? Yeah, like that was ever going to happen. And I guess Ty Dolla's working relationship with the world's most famous neo-Nazi hasn't slated his image - I mean, he did disassociate himself with an Instagram story, so maybe he simply missed everything Ye said before Vultures 1 was recorded. And hold on... Swizz Beatz? Really? This whole song has to be the product of a fever dream. And yet... it's kind of good. Well, that is until Xzibit starts reciting some lyrics from fucking "Not Like Us", which is a complete turn off. Maybe that would have worked about a year ago... . Still, I found the beat on here to be really fun, and Dre's verse was great too, despite the irony in the line "strange morning if I wake up with nothing to say" (given Dre's notoriety for having his verses ghostwritten). Ignore Ty Dolla's rather bland appearance on this cut, and you've got a dope banger. 

7. Belly Of The Beast (feat. JasonMartin) (prod. David Moss)

Even if musically this song isn't anything to jump in the air about, it is interesting how well both Xzibit and Problem are still able to rap. Initially I was kind of thrown off by Problem (I'm not calling him fucking JasonMartin anymore - what kind of stage name is that?), due to his incredibly casual and conversational flow here, but I slowly got into it, and with Xzibit I was engaged from the start. The rapping on here is bloody great, and while this beat is very low key, it does it's job at giving the MCs something to spit over. "What's your definition of a GOAT? By the time you have your answer we'll be on the boat" is also an incredibly cold bar. This shit is dope!

8. History (prod. Justin Rhodes)

I'm a little conflicted on this one, but I think I like it. There's a bunch of shit wrong with it though. For starters, that godawful vocal sample in this beat is a heavy turn-off, and completely ruins the otherwise hardcore drum, bass and synths throughout this track. Furthermore, Xzibit's cramming of the phrase "perfect attendance" into the end of one of these lines sounds so off that it reads like he couldn't be bothered to find a different rhyme, so shoved that one in instead even though it didn't fit. There's also a horribly acted skit at the end here - stick to the rapping, Xzibit. I will say, however, that aside from this small complaint the second verse on here is pretty dope, especially the line about Lizzo (the first verse sadly sounds like it was ghostwritten by The Game - go listen, you'll see what I mean). You may have noticed this paragraph is a bit confused, and that's because I can't decide what to say - I enjoy this song, but most of it is bad. Got it? Good. 

9. Genesis (prod. Köach)

The preceding skit would lead one to believe that this one would be about X growing up, but instead it seems more focused on dissing modern mainstream rappers and their glorification of drug use, and referring to an unnamed member of his audience as "a motherfucking imbecile", which surely can't be a good marketing strategy. Even though the hook on here is rather unnecessary, I enjoyed the shit out of this - the synthy production makes me feel like I'm in LA 30 years in the future, and Xzibit continues to impress behind the mic, with his rhyme schemes standing out especially on this joint. This thing is shaping up to be rather good. 

10. Perfect Alibi (feat. STALONE) (prod. Dem Jointz)

X gets his lover boy on for this "'03 Bonnie & Clyde" type track where X expresses his love for a woman, with his bars ranging from damn great to bloody embarrassing. "I touch on records like Tony Touch" - really Xzibit? That's the best you could come up with? And don't get me started on "I'm a martian, I have landed, I'm conquering Venus". On the other hand, I fucking loved "your head game is out of the equation if your brain can't function", which is so good it cancels out the other two. Musically, again I'm conflicted. I don't mess with Stalone - sorry - STALONE (!)'s chorus much at all, and similarly the beat is kind of weird, if kind of nice as well. But again this is pretty well written for an old ass man, and aside from those two particularly weak bars I thought everything else was nice. This isn't a huge highlight, but it's a chill cut nonetheless. 

11. American Idols (feat. Symba) (prod. SNDTRAK)

A song in which Xzibit dedicates multiple bars to dissing the metaverse and Bitcoin, and guest rapper Symba seems to actually defend Kanye West, unless I'm reading into his bars wrong. I also feel like the use of the word "cracker" is kind of outdated in 2025, but again maybe I'm just not in the know. Whatever, I wasn't a massive fan of this one. The production was pretty enjoyable, sure, but this was the first song where it felt like I was listening to something made by old men trying to sound "hip" while also inevitably having their music age poorly by referencing current trends. I'm quite happy this album has only done that once up to this point though, so I'll forget about this slightly off moment and move onwards. But as I said the beat wasn't bad...

12. Crash (feat. Royce Da 5'9"& K.A.A.N.) (prod. Big Duke)

Aside from the disgustingly awful hook from something called "K.A.A.N." (who the fuck is coming up with stage names these days??), I kind of liked this one, even if it took a short while to get into. The instrumental that constantly sounds like it's building into a drop that never drops is kind of weird, but also gives the track a uniquely intense atmosphere that has it stand out from the crowd of veteran hip-hop, and while Royce certainly isn't the MC I'd choose for a beat like this, he seems to do his thing as well as is possible. But it's X who is the star of the show. This man flows over this beat like he never even took a 13 year break from releasing solo music. Since when was 2025 Xzibit this good?

13. For The Love (feat. Ice Cube & Lorine Chia) (prod. Big Duke)

This was another one of the singles, and while I didn't listen to Ice Cube's album last year (I probably will at some point), the negative reception of that plus everything else he's released in the last 25 years meant I wasn't entirely hyped for this track. So imagine my surprise when I found it was actually pretty goddamn incredible!! The instrumental on here takes a very obvious sample of Mobb Deep's classic "Quiet Storm", and while once again we have a slightly iffy female sung chorus, it's the way Xzibit sounds over this instrumental that makes this track - he exudes menace, and his verses here make you forget entirely about his past career as a yelling caricature who placed swimming pools in the back of people's Vauxhalls. Ice Cube is also okay, with his final line standing out as especially funny. This song is one of the best on the album, and one of the few instances where a sample of a classic hip-hop song actually works (looking at you Busta Rhymes). 

14. Shut Yo Mouth (feat. Compton Av & Butch Cassidy) (prod. DJ Battlecat)

Am I crazy, or did Compton Av just spend half his verse dissing me? Well, despite his accusations, I don't make any shit up in my blogs, hence why I'm about to say that his stage name is trash. Hah! I actually did like this song though. Given Battlecat's credit, this is predictably the most '90s West Coast sounding track on the entire album, with the bouncy beat sounding like something early E-40 might rhyme over, or perhaps something that would appear on The Documentary 2.5 by The Game. Butch Cassidy channels his inner Nate Dogg on here with a surprisingly effective hook, and both X and Compton Av do their thing. This is dope. Did Xzibit really have to reference Alexa at the end though? Are you fucking serious?

15. Higher (feat. Redman & B-Real) (prod. Focus...)

Probably my most anticipated song off of this album, given that it features Redman, who you'll notice has gotten quite a lot of coverage on this blog - he's one of my favourite rappers of all time, and he's still got skills today, and his verse here, while nothing mental, is pretty fun and shows someone who's really living the dream. X probably has the best verse though, although it has to be said that B-Real wasn't bad. All round just another great, fun song. This is exactly the kind of material these guys should be releasing - there are too many vets trying desperately to sound modern these days, and it never works. This here is the perfect balance between having that old school feel without being dated, and it's great. 

16. Success (prod. will.i.am)

More of a spoken word interlude than an actual song, Xzibit goes into detail attempting to personify the concept of "success", with some flowing towards the end. What makes this extra interesting is that will.i.am's jazzy production is actually pretty fucking awesome. This is the guy that made "My Humps"? You can check this interlude out for the music alone - it's truly enjoyable. 

17. Notified (feat. King Tee & Cold 187um) (prod. Beat Butcha)

Aside from a short introduction, Xzibit sits this one out, instead allowing King Tee to take hold of mic duties (Cold 187um provides the hook). The results are only alright though. For some reason the instrumental on here particularly grates on my ear drums, completely unlike the dope stuff we've heard on the previous few tracks, and while King Tee is okay, his crow-sound ad-lib certainly isn't. The chorus is actually quite decent, but unfortunately King Tee isn't quite the force to be reckoned with on here that he once was in the '90s. It's almost like his unique delivery has disappeared. Yeah, I wasn't a huge fan of this one. 

18. What U Like (feat. Guapdad 4000 & Daygo Fatts) (prod. DJ Khalil)

Guapdad 4000? What the fuck? Still, his performance on here at least sounded a lot better than that of Daygo Fatts, who mumbles his way through this groovy DJ Khalil instrumental as if he's just taken a giant bite out of a wasp's nest. Still, I kind of fuck with this - Khalil's beat is nice as hell, with the switches being particularly pleasant, and while his verse is weirdly short, Xzibit is killer, showing a more introspective side on this otherwise hype track. I enjoyed this one - just please never expose us to this Daygo Fatts bloke again. 

19. End Of The Day (feat. Tre Capital, Domo Genesis & Adé Békoé) (prod. Big Duke)

Over a somber boom-bap instrumental, X gets introspective with Tre Capital and Domo Genesis, really taking a look on their past lives and motivating themselves to move forward. "Never count the shots you miss only the ones that you make" is a great line, and I also like how Tre admitted a rather embarrassing anecdote about almost dying when he got his head stuck in a gate - that shows a willing to admit your vulnerability that not too many rappers will have. The instrumental on here was especially potent, almost reminding me of some of Hit-Boy's work on Nas' King's Disease II album, only with a slightly rougher feel. This is actually one of the best tracks on the album, and would be a great closer. Weirdly though, there's still one more song to go. 

20. Kingmaker (prod. SNDTRAK)

That sample from the opening of OutKast's song "ATLiens" is such a nice gem. The production on here is just nice in general too - it feels more like something you'd find on a conscious hip-hop album than something by Xzibit, and offers up a bit of a change of pace from some of the other instrumentals on this project, which is appreciated even though the other beats on here are still dope. Xzibit's performance here is dope too - the way he ends every four bars with the titular word should be annoying, but it's actually really cool in my opinion, and I especially like the fact that this is quite matter-of-fact, and not too melodramatic. X appears to know that he's no longer as anticipated as in the early 2000s, which is an attitude that makes this album a far less obnoxious experience than something like a Blockbusta. This was a dope closer to the album. 

Xzibit in the big 25 - he really knocked it out of the park. Kingmaker is an entertaining album on all fronts, with an Xzibit who sounds excited and motivated to be back in the studio, and a set of beats that don't sound like cheap Metro Boomin imitations without any of the creativity, but instead like instrumentals that X may have found himself rhyming over in his early days, perhaps with a more modern sheen that's barely noticeable when it's fucking Xzibit rapping. This album is not a modern classic, and as comebacks go I probably wouldn't put it in the area of a We Got It From Here... Thank You 4 Your Service. But I would say it's a hell of a lot better than what Busta Rhymes, Eminem and Ghostface Killah have been cooking up recently, and frankly a hell of a lot better than I expected it to be too. I think the reason I like this album is because X doesn't follow either of the big "no"'s of a veteran rap album these days - he doesn't pander to modern sounds, but he doesn't criticise them either (well he did once but that was it), and instead just creates a millenium-esque hip-hop album which just happens to have a release date of 2025. Sure, there were some bumps in the road, but the consistency of this project is mostly intact, and the highs here are some of the best of X's career since the days of Restless. Sometimes staying in your comfort zone as an artist can be a good thing, and this is certainly proof - I would highly recommend any X fan check this out, as it certainly exceeded my expectations and it may well for you too. Well done Xzibit, you should be proud - and as long as you don't start up a show about converting motorhomes into circuses in the next five years, then your legend status should be once again intact. 

Best: "For the Love"

Worst: "The Moment"

My score: 8/10

More Xzibit - here!

Update - May 15 2025

So anyone who reads this blog may have noticed that my output has slowed down substantially in recent months. Well, fear not my wonderful audience, because after my A Levels finish in a couple weeks, I'm taking a gap year, giving me time to earn a good amount of money for university, get jacked at the gym, go to Barcelona, and most importantly - start writing this blog again!! Expect the long awaited Atmosphere discography listen to begin, as well as one for Billy Woods, and a load more stuff as well. Any requests? Leave 'em in the comments. 

I look forward to spending the next year honing my writing skills, and hopefully building a bigger audience too. And thanks so much to anyone who's already part of it. And once again, apologies for being awol these past couple months - I'll make up for it in due time. Peace. 

Ghostface Killah - Fishscale

Having made two unsuccessful attempts to get people to actually listen to his Theodore Unit crew in the mid 2000s, in '06 Ghostface Killah realised he was running out of funds from his last solo effort The Pretty Toney Album, and knew that if he was to have any hope of continuing his collection of ugly ass shoes then he needed to drop another solo record asap. So, he set about recording, enlisting the likes of MF DOOM, Pete Rock, the late J Dilla and Just Blaze to ensure the highest quality of production work (although disappointingly not the RZA, nor any of the Wu Elements for that matter), and to help build more excitement for the project bought in every single living member of the Wu-Tang Clan to provide guest vocals, as well as the R&B crooner of the time Ne-Yo and a bunch of Theodore members to fill space. He made sure to include lots of short film samples too, although this time from Marvel animated series rather than Kung-Fu flicks - and he also built the album around a loose concept involving drug dealing and its effects on the community. And finally he made sure to pack this album to the absolute brim with songs - 24 tracks is always going to be daunting, no matter how many are 5 second edited clips from old Iron Man cartoons. Basically, everything about this album led fans to believe it was going to be the return of the Wu after some years of underwhelming output and beef. It was a culmination of the themes of Only Built 4 Cuban Linx..., the teamwork of Enter the Wu-Tang (36 Chambers), and the irritating skits of Supreme Clientele - and it was very highly anticipated. And in March of 2006 he actually managed to get Def Jam to release this album. The project every Wu fan was waiting for. Fishscale. 

I listened to Fishscale for the first time when I was in a Ghostface Killah phase, tracking down his whole catalogue, and at the time I absolutely loved it, if not quite as much as some of his earlier work. Now, I go back in with more unbiased eyes to see if it holds up as an album. The memories suggest yes, but we'll see anyway. Also, why do people hate this cover so much? I mean, it's not incredible, but it's no worse than most of his other covers. Hell, I'd rather look at this art than the assault on the eyes that is the Ironman colour scheme. Anyway, I digress. On with it!

1. The Return Of Clyde Smith (Skit)

Show of hands - who here wanted Clyde Smith to return? No-one? Well fuck you all then. 

2. Shakey Dog (prod. Lewis Parker)

Now that's more like it. Ghost takes a fantastically intense instrumental from Lewis Parker and relays a story over it that is incredibly impressive in how detailed and intricate it is. The track recalls memories of "Maxine" from Bulletproof Wallets, only this time the tale is not quite as harrowing, and the beat doesn't go into a weird Red Hot Chili Peppers style breakdown at the end. Ghost's storytelling abilities have never been more evident than on this track, as he finds a perfect balance between humour and seriously intense moments, and also manages to spew out the most random details while still keeping the listener engaged. The beat on here could be Ron Browz levels of quality and I would still love this song, and with this Lewis Parker beat the track becomes an immediate standout on the album. How the hell do you top this?

3. Kilo (feat. Raekwon) (prod. MoSS, add-prod. A. Acid)

I'm not sure where the fuck they got that sample from, but it damn sure does sound dope. The first of quite a few songs to feature Ghost's partner in crime Raekwon is a chill banger with a funky instrumental that details the pair's exploits in drug dealing, and while it's nowhere near the quality of the incredible opening track, this song certainly is fun, and offers a break in-between the intensity of the last song, and also the song that's coming up next. While Raekwon sounds kind of sleepy on his verse, which is sadly the norm for his mid-2000s work, Ghost offers up some great verses and very catchy hooks and bridges that leave the listener entertained if not wowed. Overall, I really like this one. 

4. The Champ (prod. Just Blaze)

For anyone who, for some inexplicable reason, heard every Ghost album except Ironman and Supreme Clientele, I'm sure they would name this as his signature song. Because this track is the fucking shit. Ghost drops three hype and energetic verses over a loud and celebratory instrumental, separated by interludes where producer Just Blaze announces our host as if he's taking on people in the boxing ring, and the result is probably the most hype track of Ghost's entire career (although I would argue "Buck 50" could have that spot). "Who wanna battle the don? I'm James Bond in the octagon with two razors / bet y'all didn't know I had a fake arm, I lost it / while in war, before rap I was getting it on". The rhyme schemes teamed with the braggadocios energy in this portion alone is enough to convince me Ghost is a top ten rapper, and there's plenty more where that came from in the song too. And the cherry on this incredible cake has to be the scratching at the end, where ODB's infamous shout out of our host on "Da Mystery Of Chessboxin'" is scratched up as the beat drops back in, and played in full at the end. Pure energy right there. This is one of the best Ghost songs of all time, easily. 

5. Major Operation (Skit) (prod. Ken Lewis)

For some reason this album is filled with 5 second skits like this with a tailor made monologue made to sound like it's taken from a film. I don't mind the skits themselves, but I do wish they weren't separate tracks. It just makes things awkward. 

6. 9 Milli Bros. (feat. Wu Tang Clan) (prod. Metal Fingerz DOOM)

Yep, you read that right. The Wu-Tang, and every single member at that (for the only time outside the legendary "Triumph" on an officially released song), rapping over a DOOM beat. And you thought this album couldn't get any better. And for a Wu officially 10 years past their prime, they all sound pretty bloody fresh on this joint. The "bullshit hook" that starts this thing is fun, and Ghost gets things off to a fiery start as you'd expect, but everyone else does their thing too. Meth has a lightning flow that shows a man still very much pissed about the reception to Tical 0, GZA continues to prove why he's called the Genius, and U-God ends the track with one of my favourite verses from him ever - his flow on this beat is nice. Cappadonna is predictably kind of annoying, but otherwise they all slid. And goddamn is this DOOM beat good - it's the perfect mixture of classic hardcore hip-hop and DOOM's droning abstract sound, and I absolutely love it. For a Wu-Tang posse cut made in the year 2006, I really don't think this could have gone any better. 

7. Beauty Jackson (prod. J Dilla)

Once again, Ghost exhibits a natural ability for storytelling - hell, now that his music has reached the point of "quite bad" (see Set the Tone) he should get into writing fiction novels. On this song, he puts so much detail into this very short and kind of uneventful moment, where Ghost gets rizzy with an attractive woman at a bus stop, before she hastily jumps on the bus after Ghost's concealed gun falls out of his jacket. This song is too short to ever warrant someone disliking it, and the J Dilla instrumental (which also appeared on his album Donuts) is the perfect compliment to the sensual lyrics. This is a wonderful little song. 

8. Heart Street Directions (Skit)

Most of the time I don't like skits, but even I have to admit that this one is pretty fucking hilarious. "My man balls'll be out around there somewhere!"

9. Columbus Exchange (Skit) / Crack Spot (prod. Crack Val)

After a short skit in the vein of "Major Operation" a few tracks ago, Ghost tells various anecdotes about his crack house in the form of two short 'n' sweet verses, over a rather potent instrumental, especially considering how fucking horrible the stage name of the person who created it is. The first verse on this one is especially entertaining, as Ghost reintroduces the "Woodrow the Basehead" character from Supreme Clientele, detailing how he fainted while taking crack in the crack house, just before a knock on the door caused everyone to jump out of their seats. The storytelling here is hilarious and light hearted, and the upbeat and jazzy instrumental is as smooth as anything. Really like this one. 

10. R.A.G.U. (feat. Raekwon) (prod. Pete Rock, add-prod. A. Acid)

Very much in the same vein as the previous song, only now Raekwon is here to add his perspective, not one that's any different to Ghost's, mind you. Perhaps the most notable moment of this song is when the man Ghost and Rae are confronting accidentally shoots himself in the bollocks with his own gun, which I think was meant to be funny, but instead conjures up some horrible images in one's head. The rest of this track is pretty standard Ghost - Pete Rock's beat is smooth and sounds ever so slightly dusty (perfect for the Wu), and the storytelling is potent. This is definitely the weakest track so far, but it's still pretty good in my opinion.

11. Bad Mouth Kid (Skit) 

The way Ghost delivers his lines in this skit is pretty goofy, but otherwise this skit doesn't really lend itself to the man's character well at all. Threatening to assault a child with your belt in the middle of your album isn't good for press, Dennis. 

12. Whip You With a Strap (prod. J Dilla)

I'm not sure what's more worrying - the fact that Ghost has a song titled "Whip You With a Strap", or the fact that the song is actually pretty great. Yeah, the J Dilla beat is heavenly and has a really nice sample (with some admittedly slightly uncomfortable lyrics), and Ghostface has two really nice verses that show the man's personality and ability to get personal that a lot of rappers of his era weren't really able to do - at least not to this extent. Perhaps this song is part of the reason why I've seen some people call Ghost an "emo rapper". The way Ghost delivers his lyrics here really makes you feel the stories he's telling, and despite uncomfortable subject matter (about him being whipped as a child), the song seems to have pleasant undertones, as Ghost believes he deserved to get beaten and it helped him become the man he was today. Against all odds, this shit is actually really good - just perhaps not one to put on the aux in the car. 

13. Back Like That (feat. Ne-Yo) (prod. Xtreme)

Ghost shoots for the radio on this one, and it works surprisingly well, albeit perhaps not quite so much as the more inventive "Cherchez La Ghost", his other radio smash (I use the term "smash" very lightly). This track is a product of it's time, as it's a shameless mashing together of rap verses and an R&B chorus and therefore exactly the type of song that was likely to be popular in 2006, but the song works thanks to the instrumental, which is smooth, the verses which are actually well written, and a chorus that is catchy as all hell. This song is definitely not made for the Wu heads, but if it got Ghost some mainstream attention then it deserves the pass, even if it is the last time Ghost probably ever got played on the radio - and when compared to the far soppier but very similar "Never Be the Same Again", this song looks like a hip-hop classic. 

14. Be Easy (feat. Trife) (prod. Pete Rock)

I think I'm right in saying that this was also a single, albeit what was known as the "street single", as this has no smooth R&B chorus or piano-laden beat - instead Ghost spits fire over an upbeat Pete Rock concoction to make for what is one of the most hype tracks of his entire career. "Tell your crew to be easy!!" Ghost yells, and it's a threat you'd be inclined to listen to, as the man's flow on here is menacing and intense, and the pulsating instrumental will rattle your bones as you listen to it. "I'm like the boogeyman - nigga, I'll get ya!". There are so many classic lines on this one you'll lose count, and Trife Da God's contribution is limited to a short bridge, meaning that the instrumental is almost entirely covered by Ghost's incredible verses. This is possibly the best song on the entire album. 

15. Clipse Of Doom (feat. Trife) (prod. Metal Fingerz DOOM)

An area in which both Supreme Clientele and Ironman nail in my opinion is front to end consistency - the lesser quality songs on those albums (that are still great, mind) are spread throughout the tracklist, and the bangers and truly great songs are also spread evenly. This is where, in my opinion, Fishscale falls down - from here on out the album goes from fantastically consistent to merely pretty great but wobbly, and that's what in my opinion makes this album slightly weaker than every Ghost album up to this point beside Bulletproof Wallets (and his random collaborations too). Take this tune for example, which certainly isn't bad (Ghost's final verse here is actually quite compelling), but is a little too abrasive thanks to DOOM's noisy beat, and also just a little too stagnant lyrically. I don't dislike this song, but it doesn't really match the fun energy of this album at all. Oh well. 

16. Jellyfish (feat. Theodore Unit [Cappadonna, Shawn Wigs & Trife]) (prod. Metal Fingerz DOOM)

And as for this? I'm not sure what possessed Ghost to include this oddly creepy love song onto this album, but I do know that it doesn't really work within context at all. Not only is this instrumental completely unsuited to the lyrics being recited over it, but the lyrics themselves are quite weak too. And what the fuck was that Cappadonna verse? I don't think this song is bad on it's own, but it's inclusion on this album confuses the hell out of me. Still, it's certainly better than the love songs that littered his later album Ghostdini, so that's something I suppose. 

17. Dogs Of War (feat. Raekwon & Theodore Unit [Trife, Cappadonna & Sun God]) (prod. Pete Rock)

Yes, that is how these features are listed on the back cover. Ghost forgoes another DOOM beat in favour of a Pete Rock instrumental that sounds more suited to the aggressive style of these MCs, but unfortunately the beat here sounds much more clunky than that on the far superior "Be Easy" from a few tracks ago - this isn't a bad beat, but there's just something off about it, especially with that "it's a family" sample that throws the whole concoction off every time it jumps in. The lyrical content is boasts and bullshit pretty much, which is a far better choice of content for a posse cut than the weirdly out of place love raps on the previous song - still, this one isn't really up to snuff with a lot of 718, let alone the rest of Fishscale.

18. Barbershop (prod. The Studio Beatz)

I think going it alone for a track was probably the best option for Ghost at this point in the tracklist, as things seemed to be going off the rails a bit for the last few cuts. This song is a humorous and unique one verser that details Ghost's frustrations at being done dirty by his barber, and it's far more like the Ghostface Killah we know than the last two songs - in fact it's likely those were made last minute in order to help promote Ghost's Theodore Unit a little more, after 718 and Put It on the Line sold about as well as the cookies they sold door to door to raise money for the choir when they were younger. This is one of those instances where the lyrics of a song are so good and so captivating that the music doesn't even matter. It's a great track. 

19. Ms. Sweetwater (Skit)

Another skit? I thought we were finished with those!

20. Big Girl (prod. Ghostface, add-prod. A. Acid)

It was certainly a bold move of Ghost to rap over the same sample that inspired Nas' infamous travesty of a song also called "Big Girl", and even bolder to advertise this very fact within the song title, but surprisingly he manages to pull the stunt off, and not just because he, unlike Nas, doesn't come across as a complete creepo during the track's runtime. This song helps serve into the incredibly loose narrative of this album, which is that Ghost transitions from being a drug dealer into leaving the profession after he realises the effects of these drugs on those around him. You could put all of these tracks into this narrative if you really tried, but this one fits in the best, as it's narrative surrounds Ghost meeting some girls who are spiralling into cocaine addiction, and attempting to convince them to stop taking the drugs and pursue actual careers. The track is heartwarming and surprisingly mature from the man who once rapped "you dumb bitch, horny hot fuck from out the mountains!!". Sure, the sample on here does recall disturbing memories for us Nas fans, but if you ignore that then this stands out as one of the best written tracks on the album. 

21. Underwater (prod. Metal Fingerz DOOM)

After a shockingly serious moment, Ghost takes us back into his weird and wonderful mind by taking a nautical DOOM instrumental and rapping about imagining being underwater, for a reason known to only Ghost himself apparently. This song fucking rocks, with easily the best Metal Fingers concoction on the entire album creating the perfect atmosphere for the lyrics Ghost is rapping, which are not only unusual but also more often than not memorable. The flows on here are some of the best on the entire album, especially the bit where he says "I bet this'll bring that out", but really everything is an improvement upon the previous DOOM collabs (not counting the Wu posse cut). This is fucking awesome. 

22. The Ironman Takeover (Skit)

>:-(

23. Momma (feat. Megan Rochell) (prod. Sean C & LV)

An unusually mainstream way to end the album - I'm not asking for another "Wu Banga 101", but surely Ghost should know that his fans really aren't interested in overdramatic music like this with an R&B tinged hook. "Back Like That" was one thing, but at least it was catchy. Ghost's lyrics here dedicated to single mothers in the hood are very sweet, but musically this is too soppy, and frankly didn't age very well either. Still, it's a hell of a lot better than the boring as shit "Love" that the otherwise excellent The Pretty Toney Album ended with. 

The following song is listed as a bonus track, despite appearing on every pressing of the album out there. I'd probably call that good marketing if this wasn't the case with almost every bonus track on mid 2000s hip-hop albums. 

24. Three Bricks (feat. The Notorious B.I.G. & Raekwon) (prod. Cool & Dre, co-prod. Diddy)

I'm sure people were sick of hearing more exploitative unreleased Biggie verses by 2006 after the much maligned Duets: The Final Chapter came out the year prior (I believe this track right here was recorded for that album, but was left off the "final" (hehe) cut), but thankfully this track actually sounds pretty goddamn good if you ask me - maybe because Biggie's verse is nicked straight out of his classic track "Niggas Bleed", rather than his hard drive of half assed "unreleased for a reason" verses that were used on many posthumous cuts. This track here features an infectious but menacing Cool & Dre instrumental, and some dope performances from Ghost and Rae in the later half of the track. Yes, the song is a bit shameful in that it uses Biggie's name to promote itself, but at least it sounds good. That's all I can ask for. 

Even though Fishscale features a Ghostface who's well over ten years into his career, it's still just as exciting as you'd expect a release from a brand new abstract hip-hop artist to be. This thing is just insanely fun, and not unlike previous Ghost projects isn't afraid to have it's serious moments as well (whether or not these always work is another matter). While fellow Wu members were losing more and more relevancy by the second, along with artistic integrity, Ghostface Killah was on top form in the mid 2000s, and Fishscale is the pinnacle of his work from this era - even if I personally enjoy The Pretty Toney album a smidge more, there's no doubt that Fishscale is about as Ghostface as a Ghostface album can be - whether it's the high quantity of detailed and hilarious drug dealing tales, the weirdly abstract production or the abundance of Wu members and affiliates showing up around every corner, this thing exudes Ghostface's fun and unpredictable energy. It's not a perfect album - tracks 15 to 17 get a bit dull at times, the skits make the tracklist seem way too cluttered, and the last song (not counting the bonus track) completely misses the mood of the project - but what it is is ambitious and highly contagious - you won't stop bumping this if you hear it, that's guaranteed. I also love the album's loose concept, of Ghost being a drug dealer who slowly realises the negative impacts that that is having on the community around him - that's how I read into it anyway. And if you're looking for classic Ghost bangers, look no further than "Shakey Dog and "The Champ", two of his best hits ever. This album is great, and even if there are some consistency issues in the second half, the overall listen is one that I and many others love. While Ghost would go on to keep pumping out great material in the 2000s and even 2010s, he never got quite this ambitious, or quite this weird, again. Thanks for reading!

Best tracks: Shakey Dog, The Champ, 9 Milli Bros, Crack Spot, Be Easy, Underwater

Worst tracks: Jellyfish, Momma

I've written a hell of a lot more about Ghostface Killah if anyone's interested!