Showing posts with label Ice Cube. Show all posts
Showing posts with label Ice Cube. Show all posts

Wednesday, March 3, 2021

Westside Connection - Bow Down

Priority Records: 1996

Remember a time when this album was one of the biggest rap records around? Listening to it a quarter century on, it seems almost quaint, a relic of a bygone era of gangsta tropes that never transitioned into the next century. Bow Down though, wasn't so much a CD you bought to jam in your headphones/car/bicycle-with-boombox-in-basket, it was a statement. That you were down with flashing the 'W', westsi-i-i-de for life. Yes, even pasty-ass white-bread teenagers living in the hinterlands of Canada. Erm, not that I got this because I felt the need to 'represent' or something. I just liked the beats on here.

There's something utterly primal about the bare-bones g-funk on display in Bow Down, chiefly a simple thudding beat and punctual farty synth piercing the bass. Yet its effect in getting the heads boppin' and the hands waving is astounding, with Ice Cube sounding as fired up as he ever had. Mack 10 and WC, two chaps who had honed their skill with their own projects under the tutelage of Mr. Jackson's extended crew, knew this was a make-or-break chance for them, raising to the challenge with ease.

With that hot opener, you'd think this three-piece had been a tight-knit posse for years, a showing of strength from the West Coast that had been hinting at cracks forming as the '90s wore on. Yeah, 2Pac was one of the biggest names around, but much of Death Row Records was crumbling, all the while Ruthless Records was rudderless without Eazy-E. There were others out there, but things always came back to what the original N.W.A. crew were cooking up, of who'd be the leaders out there.

From the titular opener, Bow Down (the album) doesn't do much to shake the formula up. There are a few call-out tracks (All The Critics In New York, Cross 'Em Out And Put A 'K, the Cypress Hill diss King Of The Hill), and some lady mackin' cuts (Do You Like Criminals?, Westward Ho). Mostly though, it's Cube, Dub-C, and Mack-Daddy bragging about how gangsta they are, and how the West coast is the best coast. Again, hardly revolutionary stuff, but at a concise ten tracks with just enough variety between them, Bow Down never overstays its welcome.

Possibly the most brilliant moment comes mid-album, where The Gangsta, The Killa, And The Dope Dealer samples the opening guitar from Nine Inch Nails' Hurt. All the while WC gives a gang howl into the 'hood, painting an almost Gothic portrait of 'Killa Cali' street life. Gang-banging never sounded so picturesque.

With such a strong opening statement from Westside Connection, surely only future fortunes favored the trio, but their follow-up seven years later failed to capture the same hunger. Ice Cube and Mack 10 were more drawn to Hollywood by that point, while WC never quite broke out with the same level of fame. Still, he seems to have had the most productive album career post-Millennium. Might be worth a listen-in.

Tuesday, July 25, 2017

Ice Cube - War & Peace Vol. 2 (The Peace Disc)

Priority Records: 1998

I feel the second volume of Ice Cube's War & Peace duo-album concept was better received than the first, as everyone finally accepted where Mr. Jackson was in his life. Sure, it'd be dope as all Hell if he came out with some fiery social commentary about The State Of The 'Hood, but after so much financial success, was he really the man for the task anymore? By the turn of the century, a lot of elder statesmen of rap were getting well paid, and couldn't realistically keep talking about 'ghetto shit' as a lived experience. Offer insight and commentary, sure, and perhaps provide helpful guidance to the young bucks coming up (but don't y'all think you can dethrone the G.O.A.T.s without a fight, no sir). If you wanted the serious conscious stuff though, there were other acts providing it, and Cube was more interested in maintaining a brand for himself than dropping heavy with the lyrical political.

Thus when he let it be known that The Peace Disc was going to be of a much lighter fare than anything he'd done in the past, folks were at least ready for it. Willing, that's another matter, many old Cube fans all but disowning the product sight-unheard, especially after the dismal reactions to The War Disc. On the other hand, It Was Good Day remained one of Cube's longest, endearing tunes, and he'd shown a somewhat friendlier side in his Friday movies. If anything, the aggro-gangsta posturing of The War Disc came off more disingenuous compared to club-ready singles like We Be Clubbin' and You Can Do It. Considering I heard the latter in even back-water 'clubs' of B.C. hinterland haunts, I'd say he succeeded in providing something fun.

And the bump-n-grind don't stop there, tracks like Can You Bounce? featuring a gnarly bassline, Gotta Be Insanity featuring the vintage P-funk, Waitin' Ta Hate featuring the vintage trunk-thump, and You Ain't Gotta Lie featuring Chris Rock dropping a bunch of hilarious brags. Elsewhere, Cube reunites with Dr. Dre and MC Ren for a little N.W.A. gangsta reflection, while hinting at a possible reunion (which they did do, but with Snoop Dogg filling in for the deceased Eazy-E). He also drops some knowledge on shady label businesses (Record Company Pimpin'), and offers an uplifting outlook for the youth with Krayzie Bone in Until We Rich. Plus a bunch of the usual gangsta crowing and hater grips scattered throughout, but who cares about those.

Frankly, beyond just being completely honest in its intents, what makes The Peace Disc better than The War Disc is the production. Vol. 1 somehow felt cheap and plastic as a lot of late '90s hip-hop does, but in Vol. 2, the beats bounce harder, the hooks land sharper, and the funk flows freer. Even the guest spots are of higher calibre (because who really gave a shit about Mr. Short Khop?). As a trifle hour of escapism then, War & Peace Vol. 2 succeeds, but that's all.

Sunday, July 23, 2017

Ice Cube - War & Peace Vol. 1 (The War Disc)

Priority Records: 1998

The first Ice Cube record many white metal fans bought, because they sure as Hell didn't know any better. Check it though, that scowling rapper guy, he's on the Family Values Tour, performing with nu-metal bands like Korn, Limp Bizkit, Orgy, and weird, angry Germans. They might have even recalled him from other stuff, like movies (Friday, Anaconda, that one about black youths in South Central), and something called Westside Connection where he sampled a Nine Inch Nails song. After pairing up with Korn though, folks well outside Ice-C's traditional scene were finally taking notice of his music output. And a good thing too, because by this point, many in hip-hop circles were writing Cube off as having lost the socially-conscious spitfire of his early work in lieu of lucrative movies and rock tours. War & Peace Vol. 1 all but cemented such notions.

Westside Connection did keep some embers glowing, proving Cube could still throw down lyrical beatdowns with the best of them. However, Common released a crushing dis' in The Bitch In Yoo, plus The Nation Of Islam forced various hip-hop groups to a peace summit so no more senseless deaths would arise from their beefs. It clearly sawed Cube's teeth off, changing focus to take on 'made-man' rap as the Don Mega. He's the king of his West Coast Mountain, yo', running these clubs and gangsta concerns, and like Hell he's gonna' relinquish that throne without a fight. Fine and all, such topics inspiring many rappers to be the best at their game. Trouble is, fewer hip-hop heads were buying it, seeing less of the 'hood narrator Ice Cube, and more O'Shea Jackson, business man and Hollywood actor. 'Don Mega' was just another mogul character, one that was quite played out by '98 in the hip-hop world (see: Puff Daddy, Master P, etc.), and definitely not one fans of older Cube cared to turn to for some social commentary. But hey, it's fun headbanging to crunchy guitars in Fuck Dying, amirite?

Another problem stems from production. There's the aforementioned rock-fusion, including Limos, Demos & Bimbos riffing on The Police's Behind My Camel I think (because sampling 'Sting' was cool). Much of The War Disc consists of Southern rap producers though, including N.O. Joe, E-A-Ski (notable for his work on early No Limit Records – Master P even cameos), and Bud'da, plus Cube on a few cuts himself. It's all got high-grade studio polish, but aside from a couple riffs and basslines, sounds like generic gangsta funk to my ears.

That all said, Cube does remain charismatic throughout, even when rapping about cliche topics. And when he does unleash some captivating narratives, such as the reflective Ghetto Vet, or nuttiness of Once Upon A Time In The Projects 2, it shows he could still tangle with hip-hop's best. Just a shame he so often settled for mediocrity here – good enough for all those metal kids checking him out for the first time, though.

Thursday, May 21, 2015

ACE TRACKS: July 2013

*SIGH*…. So much for my hockey hopefuls. Why do I continue routing for teams that never quite make it? Maybe I just dislike the successful teams because they’re always beating the teams I like. In that case, go Tampa Bay Lightening, I guess. I’ve no quarrel with you, even supported them during their first Cup win (because LOL Calgary Flames), it’d be cool to see Steve Stamkos win a Cup early in his career, and all those goals Tyler Johnson’s scoring would be such a waste if he doesn’t win Conn Smythe. Doesn’t make me any more interesting in the NHL Playoffs though – heck, the NBA Playoffs are looking more intriguing about now. The remaining teams are all title starved, the last any of them having won a Ring two decades ago, another four decades ago (to say nothing of the zilch victories of Atlanta and Cleveland). Some long-suffering fanbase is gonna’ be celebrating and flipping cars long into the night this June! What? Oh, right, here’s ACE TRACKS: July 2013. Knew I was ignoring something.


Full Track List Here.

MISSING ALBUMS:
Mind Distortion System - He Claims To Be Not Human

Percentage Of Hip-Hop: 26%
Percentage Of Rock: 28% (though a chunk of it is technically Neil Young folksy stuff)
Most “WTF?” Track: Ice Cube - You Can’t Fade Me (seriously, those lyrics)

Another weird month, this one. It started with a couple Greatest Hits CDs, got seriously grimy with Ice Cube and Grooverider jungle, chilled for a bit with Swayzak, Kruder, and Dorfmeister, a little UK mainstream with Fatboy Slim and Gorillaz, banged it out with hard desert trance, Neil Young came in with an acoustic guitar, and ended with some mishmashed stuff at the end. Clearly the only way to treat such an erratic collection of tunes is another alphabetical playlist. Except for AmeriKKKa’s Most Wanted and Steve Miller Band’s Greatest Hits, which are lumped at the end as full albums. A bizarre, unworkable contrast, you say? Heh, welcome to what it’s like listening to all this music as I have for the last couple years.

Wednesday, December 31, 2014

Ice Cube - The Predator

Priority Records: 1992/2003

Ice Cube warned them, made two albums in two years declaring that the shit was gonna' hit the fan if people didn't pay attention to all the problems affecting inner-city America. Then Rodney King happened, followed by riots, and a promise that proper dialogue and change for the better would finally go down for black communities. Yet, here we are, over twenty years later, and the same ol' strife continues to erupt. Why didn't you warn us again, Cube? Oh, right, too busy making movies and that. Guess it's fallen to the younger generation of rappers to fight the good fight in the name of racial justice.

Just kidding. O'Shea Jackson doesn't need to keep carrying a gangsta' militant torch because he said all that needed to be said back in the day – the fact some of his points on AmeriKKKa's Most Wanted, Death Certificate and The Predator still resonate today is a testament to how difficult it's been for America to overcome its racial and social divides. That said, I wager even Cube felt he was running out of topics to rap about that weren’t retreads for this album. It didn’t mean he ran out of issues to rail against, as despite the racial pressure cooker having finally burst, he’s still taking to task corrupt cops and the unjust profiling many blacks and Latinos suffered from. A number of his other heated subjects, however, like homophobia and beefs with other rappers, is left to the back burner. Seems there were more important matters to address than whether a dude’s looking at you queer.

Another thing that’s different in The Predator compared to Cube’s first two albums is more focus on his mack game and even a little light-hearted optimism for a change. Yep, this is the one where ol’ O’Shea waxes pleasantries on It Was A Good Day, as much a sunny LA slice of life as it is a commentary that having nothing go wrong is such a rarity in the gangsta’ routine (fabricated or not). It also gave him his highest charting single outside his traditional US rap market, and quite a surprising one considering the sort of music Cube was known for – not that mainstream American radio would be comfortable promoting hyper-violent dancehall songs like Wicked.

Speaking of, should you get a feeling of Cypress Hill on some of these tracks, that’s because DJ Muggs contributed a few beats (Now I Gotta Wet ‘Cha, We Had To Tear This Motherfucka Up, Check Yo Self). His brand of bouncy funk gives The Predator a bit more variety over DJ Pooh and Sir Jinx’ rugged boom-bap and g-funk, though I cannot deny I’m still missing The Bomb Squad sample-heavy style (who doesn’t though?).

Ice Cube’s third album does run a bit long, the aforementioned limited topics covered growing repetitive by the end. Ignoring that though, The Predator is still prime-era Cube, and absolutely worth your ears’ attention. His words were never more potent, yet remain just as pertinent.

Tuesday, September 17, 2013

Del Tha Funkee Homosapien - I Wish My Brother George Was Here

Elektra: 1991

As I continue to wait for that new Deltron album to finally drop (so... bloody... long...), it seems appropriate that I now find myself returning to Del's debut album, I Wish My Brother George Was Here (a reference to Liberace, though the point of using it I haven't a clue). All things considered, it's a surprising album to have come out in the year 1991. Gangsta rap was huge (pop rap even huger, but like hell Del would do that), so not following in his cousin's footsteps in that field probably wasn't the best option if he aimed at making a large career for himself. Then again, the issues Ice Cube often dealt with were worlds apart from the life Del was familiar with, and if there's anything Tha Funkee Homosapien prides himself on, it's sincerity of content. Either that, or he just preferred looking on the lighter side of life.

But that was for the future. At the time, ol' Cube, already sitting high in the hip-hop pantheon, was more than helpful in giving Del a running start, producing and supplying dialog (mostly banter via gangsta counterpoints) throughout this album. And just as with Death Certificate, the George Clinton and Parliament Funk influences are heavy on here (say, maybe Del and Cube are claiming Clinton's their musical brother-in-arms! ...or something). In fact, it utterly dominates Brother George right from the start. They aren't just raiding the past for samples, they're aiming for recreation of Funkadelic in the early '90s (by, um, sampling a whole bunch of George Clinton and the like). Party rap, then? I guess so, as cuts like Mr. Dobalina, Dr. Bombay, What Is A Booty, and Ahonetwo, Ahonetwo definitely encourage hand wavin' and booty shakin' galore.

Despite using beats that, ultimately, didn't require much lyricism more poignant than “Throw your hands in the air, etc.”, Del wasn't about to sell his skills short. Still being a teenager though, he wasn’t too world-wise, so despite I Wish often getting lumped in the ‘conscious rap’ side of things, there aren’t many deep insights found within. Rather, trivial tales like chilling (Sunny Meadowz), tribulations of taking busses (The Wacky World Of Rapid Transit, a tune I get a kick out of since I rely on public transportation to get around Vancouver – though the events Del describes sounds more like a trip through Surrey), and frustration over lazy friends (Sleepin’ On My Couch) take up a good chunk of the album. Other times, he’s calling out all the poseurs and “fraudulent foes” in the rap game (Pissin’ On Your Steps, Same Ol’ Thing, Ya Lil’ Crumbsnatchers), a theme that he continues to this day, though obviously back then he had much easier targets to disassemble (Vanilla Ice is spared no mercy).

This is definitely a fun album to throw on, but not really a shining example of Del’s rapping skills. Despite the early lyrical potential, Brother George is better enjoyed for the beats oozing with the best of p-funk vibes.

Wednesday, September 4, 2013

Ice Cube - Death Certificate

Priority Records: 1991/2003

I had no idea Ice Cube’s Death Certificate was so old. 1994-ish was my guess when I saw this album sitting on store shelves, but no earlier. Hell, I thought The Predator was older! I’ll grant part of my ignorance was just not knowing much about O’Shea Jackson’s early solo career, beyond a basic cliff-notes summary (formed N.W.A., left for solo-pursuits, got into movies, etc.), but there was another, sillier reason too: his haircut. Thanks to the album covers of Straight Outta Compton and AmeriKKKa’s Most Wanted, plus the movie Boyz N The Hood, I always associated early Cube with the jheri curl style. The first instance I saw of him without the cut was in the 1993 rap parody movie CB4, so surely Death Certificate came out sometime after then, right? Hell no, in fact dropping onto store shelves a mere year after Cube’s solo debut. Wow, am I ever an idiot for taking so long to realize that.

Legend purports Mr. Jackson shaved his head as a way of distancing himself from West Coast gangsta rap tropes, which is funny considering Death Certificate marks the introduction of another attribute that defined Cali-based hip-hop: g-funk. Yes, a full year before Dr. Dre cemented the sound. To be fair, raiding George Clinton for samples was still a fresh concept, but all the glory for it goes to one of Cube's associates/enemies, and none for Da Lench Mob. Maybe everyone wanted more Bomb Squad action instead?

It definitely lends a different tone to this album compared to the last one. Lyrically, Ice Cube keeps firing shots at all the problems wrought by American society in the early '90s, but as the music has more bounce to it compared to the Bomb Squads' propulsive beats, Death Certificate comes off light-hearted compared to AmeriKKKa's Most Wanted. Not by much, mind, as tunes ranging in topic from ghetto misdemeanors (of course), members of the black community who sell themselves out for a bigger piece of the corporate pie, STDs (Look Who's Burnin' ain't about fire, folks), and even racism within the 'hood are just as vitriolic as anything Cube's done. It's just, y'know, funkier now.

So while his targets remained mostly the same (though now including N.W.A. on No Vasaline, since they had the audacity to make disses on him), Cube wanted to focus his words with more conceptual precision rather than the scatter-shot way he did before. The result is an album of two halves, a 'Death Side' and a 'Life Side' (probably worked better on the vinyl or tape copies). To be honest, there's scant difference between the two, though more 'hood tales permeate the 'Death Side', whereas 'Life Side' deals heavier with societal topics. It was a good idea in principle, but not delved into deep enough to make a difference in the album's flow one way or the other. It also dates Death Certificate to the early ‘90s, making my former ignorance of its release date all the more sad.

Monday, July 8, 2013

Ice Cube - AmeriKKKa's Most Wanted

Priority Records: 1990/2003

The only Ice Cube album you're supposed to have, even if you're not much of an Ice Cube fan. Oh, he's released tons more since his debut, not to mention plenty of collaborative work alongside groups like Da Lench Mob and Westside Connection. Some of it's been good, some not so good, but aside from maybe his work with N.W.A., O'Shea Jackson was never as virulent as he was on AmeriKKKa's Most Wanted. No, check that, he's even more vicious here than on Straight Outta Compton, the bad blood between him and his former posse firing him like no other motivation could. Not only was he gonna make a bigger mark than them solo, but he was going to do so with ‘the other coast’, Public Enemy’s own production group The Bomb Squad.

Hanging around the politically charged Chuck D undoubtedly played a role in Cube’s new-found lyrical focus. He still brought tales of gangster shenanigans, but they were far less glorifying and misogynistic compared to what his contemporaries offered. Rather, they spotlighted the decay of American inner city life, how it was destroying black communities, and how everyone – from the white upper-crust of society to the lowest scuzzed beggar – was all accountable. Cube offers no solutions, and indeed that can make AmeriKKKa’s Most Wanted a tiring listen as you bear the brunt of his anger, but damn if it isn’t a visceral experience.

And the music! If Cube’s just discovering how potent his lyricism could be, we’re also capturing The Bomb Squad at the height of their powers too. As this was made in the golden age of sampling, tracks are incredibly dense with (likely) un-cleared content. Unlike, say, The Dust Brothers’ production for Paul’s Boutique, who just tossed in whatever they could for the sake of it, The Bomb Squad keep grooves tight and propulsive. Just take a gander at the titular cut, with those funky breaks, bass drops, scratches, gun shots, etc. Even if Cube’s words aren’t for you, try denying bobbin’ your head to these beats. Not to be outdone, Da Lench Mob prove they're up to the sample-raiding with Jackin’ For Beats, first appeared on the Kill At Will EP, but included here on the 2003 reissue of AmeriKKKa’s Most Wanted (the whole single, actually).

So if Ice Cube’s debut’s as good as I say (any hip-hop head would), why’s it taken me this bloody long to pick up a proper copy? Oversight mainly, but going through all that Del Tha Funkee Homosapien material recently reminded me to correct it. Yeah, ol’ Del’s cousins with Cube, which most folks know, but perhaps less known is how, as still part of Cube’s crew, he helped pen some of Mr. Jackson’s rhymes here. I dunno how many specifically, though a track like A Gangsta’s Fairytale sure sounds like something Del might write (there’s even a ‘Dr. Bombay’ reference). I wouldn’t recommend AmeriKKKa’s Most Wanted if you’re only a fan of Deltron 3030 though, as they’re literally worlds apart.

Things I've Talked About

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