Our friend and occasional contributor Alaska aka Tim Baker did an interview with Tyler from OFWGKTA. It’s featured on Alaska’s own Shutyourfuckingfaceandlisten.com (syffal.com works too if you’re lazy). Go read it here.

In April of 2009 the good folks who post on the message board over at Philaflava put forth the idea of creating a project to represent the talent that the board possessed; The Philaflava Project. The idea was to team producers and emcees who frequent the board. Jason Gloss aka Philaflava and Tim Baker aka Alaska decided to spearhead the project and after some trials and tribulations the project eventually came out. It was seen as a success by those involved and the fans of the music and even garnered some press outside of the site. The success of the project inspired Gloss and Baker to develop The PhilaFlava Series, which intends to give individual artists a chance to shine and see greater light. The premise is the same; team up the talent on the board and see what comes, only the focus has shifted. Instead of collection of various artists the PhilaFlava Series will spotlight only one, he or she will in turn select the talent on the board they wish to work with.

This brings us to our very first release – The Philaflava Series Presents: Big Scen – No Days Off. Big Scen was one of the stand outs on the original Philaflava Project. His track Represent to the Fullest was a personal favorite of both Gloss and Baker and decided that he would be a perfect artist to start the series with.

Big Scen, 23 years old, was born and raised in Toronto. Coming from a musical background, Scen attended an arts school in Toronto for Saxophone, and has been rapping since he was 16. Scen has always been a natural. Interested in pursuing post-secondary education, he went to university for three years, when he realized that he missed the music too much and put his education on hold. Since then he has been making quite a name for himself in the burgeoning Toronto scene. He has most notably opened for RA The Rugged Man, The Roots, Mixmaster Mike, and Killah Priest. Additionally Scen recently released the song “Broke As Fuck” with Sean Price and DMC Champion DJ Grouch.

Big Scen is currently working on his debut solo album, which is untitled, as well as a full length album with Rosario titled “The Standard.”

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Black Moon – Enta The Stage
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Pros

– Beat Minerz productions and Buckshot killing it for the first and only time.

Cons

– Featured 5 Ft. and Dru Ha, and the body count was just to ridiculous coming from two rappers under 5 feet tall and 120 pounds.

Redman – Whut Tha Album
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Pros

– Not a bad song on the album, thick funk production and Redman at the height of his powers.

Cons

– To many stories of sharing women with Erick Serman and “Accidental” encounters with tranies.

Clipse – Lord Willin
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Pros

- Great coke rap and amazing production

Cons

– Not being able to tell the rappers apart, guest appearances and Pharell

Main Source – Breaking Atoms
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Pros

- Large Pro production and rapping.

Cons

– Some nerd shit

Diamond D & The Psychotic Neurotics – Stunts Blunts and Hip Hop
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Pros

– Excellent production, Diamond is surprisingly adept on the mic

Cons

– Features Fat Joe and Lord Jammar

I have been pretty much actively avoiding this write up since last week. Partly because by brain isn’t functioning that well due to lack of sleep and partly because I just didn’t know how to attack it. How many ways can you say “hey this thing here is great” without sounding redundant? With this album we are now 9 albums deep into our little Top Ten-est list, and like most top ten lists it seems like everything that needs to be said about an album has been said. Finding a new angle is increasingly difficult and at times pointless, but regardless I need to pull something out of my ass to finish strong.

When today’s album dropped, friends kept telling me I needed to check it, The Source gave it 5 mics, the world seemed geeked on it, but I just could not give it the respect it deserved because I my east coast bias was so strong. Their accents threw me as did their style. I loved SouthernPlaylisticCadillacMusic, when it dropped but there was still something decidedly familiar about that album, even the videos had a whole DPG meets Souls of Mischief vibe to them. Granted neither of those groups were east coast but they were familiar enough that I could get my head around it.

Atliens on the other hand turned me off completely, I hated the whole aesthetic. Of course now I can look back and see that there was some genuinely brilliant rap music on that album, but it was still an uneven effort and sounds incredibly dated. You can tell that they were on to something but it wasn’t fully clicking.

After a few months of non-stop brow beating Aquemini finally clicked with me thanks to my friend Big Ben who played the album endless when we were driving around Manhattan and Brooklyn in his Nissan Pathfinder doing things we probably shouldn’t have been while driving and messing with girls that could best be describe as “if she was your daughter you would feel ashamed of yourself”.

It was in that car and in that altered state of mind that I really started to appreciate the album. The production was original, thick and layered. The drums patterns were unique and amorphous, and the lyrical performances were tremendous. Big Boi is easily the best second fiddle not named Prince Po and Andre is just brilliant. His patterns are some of the best ever and continue to amaze even today. His content managed to remain entertaining even when being, for lack of a better term, conscious. He draws you in where others come across as pretentious (see Mos Def) or semi retarded (see Dead Prez). He is also the only MC right now that if feel has a chance to make an honest and entertaining album well into his late 30s and 40s.

Outkast has 4 albums that you can claim as their best, however the only one they would be correct about would be Aquemini.

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Or if in passing I said “torture muthafucker torture” you might inform me that you would indeed “stab my tongue with a rusty screwdriver”

Let’s say you were hungry and wanted to get some food that was best described as “some marvelous shit to get your mouth watering” you would know who to see.

How is it that we would all know this?

Well from our number four album Enter the 36 Chambers by The Wu Tang Clan.

Released in 1993 it revolutionized production and offered up a bevy of styles from GZA’s traditional rhythms and cadence to ODB’s madman with a mic style, it was unlike anything that any of us have heard at the time and since then artists have been trying to replicate it with expectedly boring and lackluster results….I’m looking at you white people.

My first experience with the Wu was at the Wiz on Central Avenue in Yonkers. I spent my summers working on a Coors truck and every Tuesday I would go to the Wiz and by all the new releases whether I heard them or not. Towards the end of that summer I bought the cassette single for Protect Ya Neck b/w Method Man. The art work could best be described as non-descript, basically plain white cover with a logo. I never heard them, but I read about them and people suggested I check them out. I went back to my car, at the time a Colt Vista Wagon, aka a piece of American shit that Detroit has become famous for, and played the single for a good 45 minutes before pulling out of the parking lot. It was that good and different. Even U-God came off, which is usually the case when he limited to 8 bars or less.

Needless to say I was stuck. I waited and waited until the album came out that fall. The wait was worth every second. The album dropped and it felt like everything changed, at least it did for me. Production now had to be moody and cinematic, lyrics had to be strong and layered and flows had to be insane. The album feature 3 of the greatest songs in the history of rap (Protect Ya Neck, CREAM, and Can It Be All So Simple) and I guess you can argue for a fourth with Method Man, which for my money was a great song for the 90s but not all time.

Everything about the album (with the exception of the song Tearz) is perfect, even the skits are enjoyable to this day. What other album has had skits that spawned hours of conversations and inside jokery, t-shirts, Youtube clips, etc. There are none.

I can’t believe I considered leaving this album off the list.

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So we finally cracked the top 5, and I have had this album slated as high as number 3, but with the inevitable reshuffling that comes with shit like this I had to move it down to number 5. I also had to decide between two albums by the same artist for this slot. I knew I wanted one of the first two Ice Cube solo records it was just a matter of which one. Was it the one that I romanticized as being better than it was, or the one that I never really gave a fair shake too? Either way it is hard to argue against either of these albums making it into any top 5 anywhere. I think his stretch from Straight Outta Compton through Death Certificate is one of the most dominant in the history of hip hop. If you were to take the best 3-4 year periods for rappers since the start of the genre it is hard to find someone that had a better stretch than Ice Cube during this time. In fact I might have to explore this at a later point.
Since I was torn on these albums let’s do the side-by-side comparison.

Rapping – Ice Cube was a better technical rapper on Amerikkka’s Most. It’s hard to argue against that. He hit on all cylinders – flow, voice, cadence, storytelling, battle raps, style, etc. On Death Certificate he was still quite capable and delivered a powerful performance but the technical side suffered a bit. He became a bit one dimensional running couplet after couplet. I think on Death Certificate we start to see the very early stages of what became of him on Lethal Injection and everything that followed. The fall off was small but it is there.

Advantage – Amerikkka’s Most (any truth to the rumors that Del helped him write this?)

Production – This one was a shocker for me. For my money there has never been a greater production team than the Bomb Squad, so I expected this to be a landslide win for them. However the more I listened the more I realized that the work that Sir Jinx did on Death Certificate surpasses the work they did on Amerikkka’s Most. To the point that I now have trouble listening to Amerikkka’s Most. He took everything that was great about the first album and then made it his own, giving Ice Cube a signature sound as opposed to sounding like PE light. It is an amazingly impressive work.

Advantage – Death Certificate (by a much bigger margin than you might remember)

Content – While Ice Cube does what he did best on Amerikka’s Most, the content itself is pretty one dimensional, a few battle raps, a few stories about scandals chicks and a few gang related tales; it is really a myopic world view. On Death Certificate, while still hitting on the same topics, he opens up his scope more and turns his lens on race relations, economic hardships, the realities of gang life and bagging stank broads, as well as the expansion of gangs and crack, the problems in the black community within the black community. It is a stronger effort that ultimately made Ice Cube a more rounded MC.

Advantage – Death Certificate

Guest Appearances – Death Certificate didn’t have Yo-Yo

Advantage – Death Certificate

Overall – I expected Amerikkka’s Most Wanted to run away with this. It held a special place in my heart but once I put them side by side it became more and more obvious that Death Certificate is a much better record. The production is stronger, the content and rapping is more complete, and the album seems to move much better and doesn’t suffer from being too long and stagnant portions the way Amerikkka’s Most does. Both albums are terrific but Death Certificate is a better album.

Winner – Death Certificate

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I have recently been thinking about artists that show potential but never reach it for whatever reason. This phenomenom tends to be of epidemic proportions in rap music and I am not sure why. It could be the culture in the record industry demanding quick turn over and a follow the leader approach to marketing the music. It could be that most rappers do not have the musical background to understand what it takes to make a strong record. it could be that there isnt a lot of guidance other than the “make sure you have the x, y and z” style songs on your album. Or it could just be that some rappers are either too self indulgent or lazy to ever get the best from them.

I started thinking about this because of the artist Mos Def. Obviously a talented rapper. His work in the late 90s with Black Star was brilliant. His first solo album Black on Both Side, though uneven showed immense promise. Sadly that promise was never reached. It was a combination of him being bored with rap, trying to do too much, acting, getting hammered by Christopher Hitchens on Bill Maher, etc.

The point is he was unable to keep focus for a full album and his works became increasingly, how can I say this without being insulting, shitty.

With Mos there are always amazing moments.

When he is on, it is exactly what I want to hear when I listen to rap music, but when he is off it is exactly everything I hate when I listen. So this got me thinking, what if some one like Mos, or The Roots, or Ras Kass had a strong personality with an ear for what makes a great record pushing them to do so? Would it work. Would we get what we always hoped for from them? Sadly we will never know because the music industry has pretty much eliminated the true A&R position for quick profits and disposable artists. So I decided to try on my A&R hat and see if I couldnt put together a great album from the material that is already out there. I set a few rules in place to avoid just turning this into a best off type deal:

1. The music can only come from the artist album catalogue, no collaborations, guest appearances or side projects.
2. The project must flow like an album, which means if the song doesnt fit, it doesnt get on, I dont care if it is their biggest hit or has a Jay-Z or Kanye guest appearance.
3. It must not be longer than 55 minutes and 14 songs, because no album ever should be.

So lets see how this little experiment worked out. Mos Def, you are about to be Laskified.

Mos Def – Laskified

Track Listing

1. Champion Requiem
2. Mr. Nigga
3. Murder of a Teenage Life
4. Ghetto Rock
5. Quiet Dog Bite Hard
6. Undeniable
7. White Drapes
8. Sex, Love, and Money
9. Napoleon Dynamite
10. Close Edge
11. Umi Says
12. History feat. Talib Kweli
13. Brooklyn

Mos Def – Laskified

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So today we go back to our weekly series dedicated to naming the top ten-est rap albums of all time.  I picked the ten albums I wanted to feature in advance.  Since then I have been listening to them pretty non-stop which has lead to many of them being second guessed, removed, and shuffled around.  Today’s record was originally slated in the number two spot, but the more I listened there was just no way I could justify putting it above the albums to follow. 

A Tribe Called Quest was one of the best groups of the 90s.  THey have also become one of the groups that annoying white people that want to discuss hip hop but have no real grasp of the culture cling to.  They are like Cypress Hill minus the weed or the Beastie Boys minus the nasally NY jewish voices.  Additionally Tribe reached a creative zenith that neither of these groups came close too….fuck anyone who says Paul’s Boutique was this or that.  The MCing sucked so the album isnt good.  It would have been better suited as an instrumental album, but sadly that trend didnt really take off till years later. 

Midnight Marauders was the high water mark of creativity and artistry for the group from Queens.  It also marked the first time that Phife Dawg wasnt a complete liability.  That said Phife is also the reason for the albums drop from number two to number 5.  There was just no way i could put an album that he shared lead vocal duties above say, Illmatic, which was originally in this slot. 

Midnight Marauders is the most complete work from the group, it was the moment all the key elements came into their own, with the exception of Jarobi who came into his own by no longer appearing after the groups first album.  The scope of their content moved from very hip hop centric concepts like Buggin Out and having The Jazz to more universal topics like romance,  the experience of a young man in the city and even just everyday problems one faces in their life.  Ali Shaheed Muhammad’s production was cohesive throughout and wasnt limited to just the obscure jazz samples that made Low End Theory a landmark album that has ultimately aged poorly.  The production is thick and lavish and creates a mood that ties the album together from start to finish.  Q-Tip while not displaying the same level of craftmanship in Low End Theory offers a more complete performance combining content, flow, voice and lyrics to help him reach even greater heights as an mc.  The guest appearances are not frivolous and include a top notch performance from Large Professor, getting booth guest vocal and guest production credits on Keep It Rollin and chorus appearances from Trugoy and Busta Rhymes on Award Tour and Oh My God respectively.  The album also spawned two undeniable hip hop classics the aforementioned Award Tour and Electric Relaxation which ended up on every mixtape I made for my lady friend that year. 

I think most would agree that Midnight Marauders is the magnum opus for one of the genre’s most creative acts and remains as poigient and fresh sounding today as it did back in 1993.

Personal note: I went to SUNY New Paltz and this album circulated the campus for about two months before its actual release.  Albums that also leaked that school year and made the rounds were Black Moon’s debut and Nas’ Illmatic.  So I guess leaked records were not just a symptom of the internet age. 

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Links for the previous entries:

Number 10:

Number 9

Number 8

Number 7

At number 7 we have an entry from De La Soul, Buhloone Mindstate. It is the best De La record to date, and considering how bad their recent output has been, it is probably the best De La album period. Artsy types will often gravitate towards their first two records 3 Feet High and Rising and De La Soul is Dead, one of which is good and one of which is kind of a cluster fuck. Ill let you figure out which is which. Purists will often go with Stakes is High which is an average effort at best, and the worst of the 4 De La albums that matter, it also signified the beginning of the end for De La as an important entity.

Bulhoone Mind State is the high water mark of their artistic creativity and maturity. Marking the first time in the groups history that all three major contributors were on the same playing feild. Dave aka Trugoy was always a capable MC but was carried by the greatness of Posdnous and Prince Paul. This was the first time it felt like Dave could hang. It is also the only rap record that ever made it into the category of grown folk music that wasnt a Jay-Z post Black Album-esque snooze fest or some crotchety old folks telling the kids to pull their pants up.

The Lyrics are intense, layered, and personal. Posdnous delivers one of the greatest lyrical performances in the history of the genre. His lyrics are brilliant, revealing, and easy to grasp, while still holding true to his abstract style. His patterns are absolutely absurd. The high point being his verse on I Am I Be. Prince Paul’s The production is a cleaned up and more to the point version of 3 Feet High and Rising. They are soulful and not in a shitty Common post Resurrection vibe.

Outside of the weird asian guys rapping (which luckily isnt too long) the album is flawless. Truth be told I have recently become reacquanted with this album and it is the inspiration for this bizarre quest to change the way we look at rap albums, moving from an impact, historical significance and sales number model to one of artistry. Buhloone Mindstate is definitely one of the artistic high points in the history of the genre.

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I spent a lot of time trying to fill this slot. I was torn between two albums that I absolutely love, Breaking Atoms by Main Source and Whut? Tha Album by Redman, but the more I listened to those albums the less I could justify including them in the top ten-est rap albums of all time based on the criteria laid out in this space two weeks ago.  So I pondered, and tried to figure out what I could put in this slot.  I already had every album I wanted to include on this list plotted out and ready to go.  Then it hit me I needed to move Ghostface Killah’s Iron Man from its previous position which was so high because it was going to be the de facto Wu album to the number 8 slot and move Enter the 36 Chambers into the slot held by Ghostface.  After all Enter the 36 Chambers is a monster that has earned its right to represent itself. 

So here we are at number 8 with what I consider to be the best of the Wu Tang solo records and one of my favorite records of all time.  One could argue that any of the first round of Wu Tang solo records could claim a top spot on this list, but you would be wrong.  Tical was very good for its time, but Meth’s style on the record has become dated; Liquid Swords aged horribly mostly due to Gza’s anti-personality; and Return to the 36 Chambers while fantastic was just a little too uneven.  That leaves Raekwon’s Only Built for Cuban Linx and Ghostface Killah’s Iron Man.  I feel like you can make an argument for either of these albums being the high point of mid 90s NYC street rap perhaps only being matched by Mobb Deep’s The Infamous and Hell on Earth, but I can’t give any credence to an album where Havoc is prominently featured on the mic.  So I went with my personal favorite of the two.  Iron Man.

There is something special about this record, I wouldn’t say it is the high point creatively for Ghostface and the Rza, that would be Supreme Clientele, and it isn’t even the high point for ghost as a lyricist.  But there is something about this album that makes me revisit it for weeks at a time.  It has a cohesiveness that the others lack, still holds to the signature Wu sound which you could easily argue was the last sound out of New York that really mattered.  Sorry Jay-z’s The Blueprint was cool and all but it was not redefining shit.  Where Supreme Clientele and Bulletproof Wallets highlight the verbal ability of Ghost they are lacking in a constant that tethers you to the music, causing the albums to lose urgency as time goes on.  Pretty Toney, while enjoyable was the start of the downfall of Ghost as a creative entity eventually leading horrifically boring projects like Fish scale and More Fish. Sure they had moments but they were few and far between.  I think what makes Iron Man so special is the emotional core and the rawness of the sound.  It resonates through time and the music throughout the record is phenomenal, with a perfect mix of Wu Tang battle raps, street revelry and introspective genius that I think I will still be revisiting well into my latter years.   

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