B.G. The Prince Of Rap - The Time Is Now

Epic: 1994

As he was teaming up with DJ Dag and Mark Spoon to help invent some little genre known as trance, Jam El Mar also spent time getting in on that European hip-house action that Technotronic made all the rage. Heck, if Lord Discogs is anything to go by, his first production with Bernard Greene on Rap To The World beats out Dance 2 Trance’s We Came In Peace by at least a few months. And while the latter is hailed as a Very Important Record in the annals of trance, it by no means had the immediate success Rap To The World did. Eventually his work with Dag and Spoon would eclipse anything he did with B.G., but in the early going of his ‘techno’ career, Mr. Ellmer had himself a chart star with The Prince Of Rap. All the better for making that cash-money to fund his underground projects, yo’.

Fast forward a few years, and though trance has taken off in Germany, euro-dance took off bigger, and ol’ Jam and B.G. knew they had the foundation to capitalize on a scene that gave us Mr. Vain, Rhythm Is A Dancer, and Get-A-Way. Still, name recognition only takes you so far when dozens of new acts with hit singles are continuously shoved into clubs and radio. Perhaps they suspected a little extra oomph to stand out from the glut was needed, thus bringing in one Stefan Benz to the party. Mr. Benz had been making italo disco since the late ‘80s, moving onto euro-dance as many producers of that era did, even scoring another successful act in DJ Company. Then he went onto cheese-ball hard trance and ‘hands-up’ stuff through the ‘00s, but who cares about that.

Nay, let’s remain focused on The Time Is Now, and the three big tunes off here. Though none of them did as much action on the charts as This Beat Is Hot, Colour Of My Dreams did the best amount of damage, hitting top fifteen in Germany, and even scoring number one on Canada’s dance charts. It’s got the smooth rap from B.G., a catchy chorus from Paris Red (who did the bulk of vocals on the album), and punchy synth hooks. Better is Can’t Love You, especially as Jam El Mar’s vintage, buzzing sawwave synths drive this tune throughout. Can We Get Enough? was the lead single, something of a rough bridge between The Prince Of Rap’s earlier hip-house into euro-dance fare (that bass!). All are mint tunes of euro-dance’s peak years.

The rest of The Time Is Now is practically all filler though. Decent enough if you’re a hardcore collector of this stuff, but hardly essential material twenty-plus years on. Well, except for the curious two final tracks, actual hip-hop cuts, including a posse jam in This Is How We Do It. Guess the Prince Of Rap needed to remind everyone of his American roots. He sure didn’t have much chance to show off his lyricism on anything else here.

Method Man - Tical 2000: Judgement Day

Def Jam Recordings: 1998

A four year gap isn’t that much, all things considered. ‘90s hip-hop though, things were moving fast, stars rising and falling at an unprecedented rate, fueled by an MC arms race to the top of Mount Brag-N-Swagmore. Your label could only achieve immortal greatness if you had the best talent signed to your print. Death Row had 2Pac, Bad Boy had Biggie, No Limit had Snoop Dogg, Loud had Wu-Tang Clan, and so on. Def Jam had many legends to their name too, but most of them had established careers, showing little of the spit and fire needed that propelled the emergent labels of the ‘90s to the top. As a quick signee to Def Jam after the smashing success of Wu-Tang’s debut, Method Man looked to be the breakout star of the group, one that would usher in a new generation of hungry MCs for the storied print that Rick Rubin built.

One problem though: Mr. Clifford Smith wasn’t interested in being a solo star, completely content sharing the spotlight as part of a back-n-forth (Redman, Street Life) or a crew of equally charismatic rappers (Wu-Tang, Monstars, heh). All fine and well if one’s career aspirations stay humble, but when everyone from the fans on the streets to the CEOs in the record label towers demand more, four years turns to an agonizing wait, one the Ticallion Stallion gleefully mocks in Tical 2000 through a series of phone call skits. People ranging from accountants to radio DJs to even the tribble-cultivator Trump himself all chime in wondering what the bloodclot is taking Meth’ so long with this album.

Figuring out a theme would be my guess. Of course the nearing millennium would spark some inspiration, but aside from the opening and closing tracks (Perfect World and Judgement Day), it’s not a subject touched upon. Instead, Johnny Blaze runs the gamut of witty wordplay, sexy wordplay, thug life wordplay, club don’ wordplay, and that’s about it. Hey, it’s not like the subject matter in his lyrics have mattered much of a damn - Method Man could have excelled through sheer charisma alone, his deft skills on the mic’ keeping you hooked once reeled in.

Unfortunately, even that isn’t enough to save Tical 2000 from the sin of filler. Despite folks clamoring for more Method Man, most everyone agrees there’s too much bloat given the limited amount of topics covered. No matter how solid the beats are or how hype the guest spots are (seriously, I’ve never heard Street Life sound this good!), it all turns to repetitive mush in the back-half. It probably doesn’t help that the midpoint offers a hilarious Chris Rock skit, where the comedian goes on a never ending spree of Method Man aliases that cannot be stopped by gunshot, nor rabid dogs, nor rabid dolphins. Hell, he can’t even be killed by fire, and even The Thing could be killed by fire. After a high such as that, there’s only down to go.

Method Man - Tical

Def Jam Recordings: 1994

Over three years since I dropped my first Wu-Tang Clan review, I’m finally doing a solo album from the M.E.T.H.O.D. Man. That’s just silly. Consider: I’ve talked up four Raekwon LPs, four Ghostface LPs, three from Deck, three from GZA, plus efforts from RZA, ODB, Masta Killa, and even U-God! Also consider: one Clifford Smith kicked-off the solo Wu-joint concept, his debut dropping but a year after Enter The Wu-Tang (36 Chambers). While it seemed likely a few of these MCs could sustain a career away from the Clan, there was little doubt Method Man was the breakout of the group, destined for superstar greatness in the world of hip-hop. It, um, didn’t quite turn out that way, explicitly because he never fully capitalized on all that initial momentum and good fortune. His album output has been sporadic and frequently underwhelming, yours truly seldom feeling the need to dig beyond his ‘90s output. And since his first few LPs centered on the concept of “tical”, here’s poor ol’ Cliff, way down in the ‘T’s of my CDs, thus bringing up the rear of Wu-Tang Clan solo joint reviews. Not that he’d give a shit either way.

Way back when though, everything looked peachy-keen for Johnny Blaze, his gruff charisma landing him a quick deal with hip-hop’s premier print, Def Jam Recordings. And why not, the label that gave us LL Cool J, Beastie Boys, Public Enemy, and Slick Rick undoubtedly anxious to get in on that hot Wu-Tang stylee, with nothing less than the group’s star MC as part of their official roster. And for sure, they got themselves some future classics of the hip-hop pantheon with Tical. Bring The Pain oozes street swagger with all the freestylin’ lyricism as found in his classic eponymous track from Enter The Wu-Tang. All I Need is a surprisingly affectionate ‘slum love song’ establishing ol’ Method as a rough ‘n’ tumble ladies man. And Release Yo’ Delf is a fun, rugged anthem for the club. The rest of Tical though… ah, hm.

As was the case on all the early Wu-solo records, RZA handles the bulk of the beats, and as Method Man has a gruff, gravely persona, so too does the music provided. Everything sounds rough, unpolished, dragged through Shaolin grime and muck, covered in a thick fog of hemp smoke. And dear Lord, some of the bass on this is absolutely crushing, the heaviest you’ll hear on nearly any Wu-Tang album. Sub Crazy alone must have broken many a poor, unsuspecting sub-whoofer. Sometimes though, it’s too much, the bass burying Meth’ and any other MC in the mixdown - Biscuits in particular is downright indecipherable. Yet given how clear the lyrics come through in other tracks, I can only assume the muddiness is intentional on RZA’s part, maintaining the Wu’s ghetto-grit mystic even as they began their empire expansion. Personally, I dig it, but Tical is left a difficult album to get into, one capably aided with an eponymous substance.

Live - Throwing Copper

Radioactive: 1994

One of the only ‘90s alternative rock albums you ever bought in the ‘90s, even if you weren’t the sort to buy alternative rock albums in the ‘90s. You certainly remember Live (pronounced “it’s alive”) from radio play and music video rotation, but do you really replay their music much? Be honest now. No wonder the band’s earned the running gag of one of the biggest acts of that decade that no one remembers.

As a refresher, they flitted through the realms of grunge, college rock, and even a bit of country, not quite getting pigeon-holed into any specific scene, yet always welcome on the appropriate FM stations. The I Alone vid’ is practically a what’s-what of ‘90s alt-rock standards: a desolate stage shoot with requisite grunge tree, shirtless shaved member, a long-haired scruffy Reality Bites member, a short-haired scruffy Clerks member, creepy animals. Live is about the most ‘90s rock band any ‘90s rock fan will tell you existed, despite the group maintaining a decent career well into the ‘00s, even releasing a new album eighteen months ago. It, erm, didn’t sell even a touch as well as Throwing Copper.

But then few albums did in the ‘90s, Live’s sophomore effort one of the best selling LPs of the decade. This, despite the fact it only hit the top of the charts in a handful of countries, and only scored a couple number one hits out of five singles released (Selling The Drama and Lightning Crashes earning those honors). Throwing Copper was the epitome of a slow burner though, an album from a band no one knew much about, but through consistent airplay and word-of-mouth buzz positive momentum t’was built. It got folks to those record CD shops, buying Throwing Copper for themselves, as a gift for their friends, and a second copy after wrecking their first while tossing it into their glove compartment (probably). The result is a eight-million selling record.

And unlike some other mega-selling ‘90s albums, most folks aren’t so embarrassed at having bought this. Live are a solid rock band, no doubt, capably going from soft and melodic to loud and aggressive as needed. Ed Kowalczyk makes for a good, relatable frontman, telling tales of people on the struggling side of life without ever sounding condescending or ultra-angsty. Live find an agreeable middle-ground, Throwing Copper as engaging a listen as it is a nice casual throw-on; a slightly heavier Tragically Hip, is the vibe I’m getting at.

Yet for as good a rock album this is, you don’t see much in the way of retrospectives for it. Its 20th Anniversary passed by with but a token vinyl reissue, a feat even a middling rock release gets these days. More damning though is its Wiki page, the barest of write-ups offered. Nothing regarding the album's conception, recording process, interviews with band members… this, for a top selling album of the ‘90s. Amazing how something once so popular can so easily turn into an afterthought.

Tiger & Woods - Through The Green

Running Back: 2011

Was that ‘disco edit’ fad ever a short one, eh? Seemed in 2011, it was all anyone talked about in the cool branches of house music. And for good reason, the sound a welcome revisit to the funky, class sounds that built house into the house it became. After years of minimal-tech monotony and abrasive electro-slop, any return to fundamentals would be celebrated, which disco edits provided with unabashed pluck and gusto. Cool is often fleeting though, especially when centered on such a singular trick that can be rendered cliché by bandwagon copycats. It also didn’t help the micro-genre that Tiger & Woods, the very tastemakers themselves, cultivated a code of semi-seclusion, retreating from the hype train whenever they could. And a good thing they did too, capably maintaining a career as the popularity of disco edits waned in favor of the next, hot big nothing (swing house?).

It’s been half a decade since Tiger & Woods made their mark, and they’ve remarkably kept their anonymity since, continuing to use the aliases of Larry Tiger and David Woods in the scant interviews they’ve done. Fortunately, I know of a Lord That Knows All, and The Discogian One provides some clues. Not so much David Woods, or ‘Valerio Delphi’ as one alias alludes to - there’s scant material to this name in the massive database. Mr. Larry Tiger though, now here’s some interesting dirt.

Links to this name include a number of techno records as Analog Fingerprints, some ancient bangin’ acid as M. Chrome, and a respectable pile of albums and singles as Marco Passarani, which include stabs at electro, IDM, house… a varied palette, this man. While the link could just be a coincidental name-tag error within Lord Discog’s archives (it happens!), considering ‘Marco Passarani’ output suspiciously dries up right after ‘Larry Tiger’ appears, odds are pretty good we’re dealing with the same guy. A recent solo album on the same label as this one (Running Back) kinda’ seals the deal. Plus, y’know, Tiger & Woods being confirmed Italians and all.

ANYHOW, this album. The concept here couldn’t be simpler: take some disco samples, loop them a bunch, and tweak them as though they’re your own original bars in Ableton. It’s a trick that can be horribly misused and abused, but Tiger & Woods display a crafty sense of how a solid track should develop. Teasing out the builds so they never overstay they welcome, letting a vocal hook sink in without growing redundant, never falling prey to the ever-tempting effects overload. Admittedly a lot of this sounds like French house without the filters, and Through The Green does get repetitive by album’s end. Most of these tracks were out as singles prior anyway, this LP basically a formality in cashing in on their popularity. As Tiger & Woods have shown more activity this past year though, with luck we’ll see some evolution in their sound now that the fad is long past.

Michael Jackson - Thriller

Epic: 1982/2001

The only album you’re supposed to have, even if you’re not a music fan. Considering Thriller remains the top selling record ever, such a statement isn’t hyperbolic in the slightest. Chances are good you either have Thriller, know someone who has Thriller, or have heard no less than half this album in your lifetime. Yes, even you toddlers incapable of reading this. And if you’re one of those sacks that deliberately avoided Thriller because… reasons, you’ve most definitely seen or heard the covers, the parodies, the memes, or the paraphernalia that spun off from here. Michael Jackson’s opus reintroduced a generation to the concept of an album as an event, one many future pop stars continue replicating to this date with varying degrees of success.

Quincy Jones remains humble in interviews regarding Thriller’s success, the producer often stating he and Jackson were only out to make the best album that they could, not a cultural touchstone that would shape the ‘80s. C’mon, Q’, you had to know you were on some next level shit with this record. You don’t spend an inordinate amount of time and money knocking out the same ol’ R&B tunes everyone else was peddling. You go and get yourself all the best equipment and resources you have available, cross-blending and genre fusing all the fashionable black music of the time while mixing in cutting-edge studio tricks and sounds.

Classic contributions like full horn and string sections, backing soul singers, and funky-ass guitar licks. Modern technology in the form of synthesizers, drum sequencers, and vocal modulators. Obscurities like Afro-funk (Wanna Be Startin’ Somethin’), emulation of outlandish instruments (theremin in Thriller, Blaster Beam in Beat It), and guest spots like Eddie Van Halen in Beat It, Vincent Price in Thriller, and Paul McCartney in The Girl Is Mine. Seriously, one does not get themselves a Beatle without expecting a significant hit on your hands.

Even without the Holy Trinity of Michael Jackson singles, Thriller would be remembered as one of the greatest R&B records of the ‘80s, perhaps ever. Along with the Soul Makossa inspired chant, Wanna Be Startin’ Somethin’ is a great slice of disco funk. Though not released as a single, Baby Be Mine’s got some serious boogie going for it. The Girl Is Mine is pure R&B sap, but delightfully charming (Shyamalan Twist: fed up with Michael and Paul’s bickering, the girl takes off with E.T.). Airy ballad Human Nature did solid chart numbers, P.Y.T. (Pretty Young Thing) gets in on that P-funk vibe, and The Lady In My Life is a fine enough R&B standard to close out on.

But yes, we all know why you’re here. The best bassline of the ‘80s in Billie Jean. The best guitar riff of the ‘80s in Beat It. The best video of the ‘80s in Thriller. These pushed the album from ‘damned good’ into iconic status. Not bad for a genre that seldom got a whiff of recognition from gatekeepers of the old music industry.

Various - Three A.D. (Volume Three Ambient Dub)

Waveform Records: 1996

The end of an era, this compilation. Okay, ‘era’ is much too weighty a word in describing ambient dub’s time. It had a significant run in the chill-out scene, got some respectable write-ups in magazines, then quietly receded as fresher downtempo vibes and producers made their mark. Half a decade of prominence is no mean feat that those folks from Beyond Records should feel proud for. Waveform Records too, especially in reinventing themselves the years following this CD. The folks from Arizona would eventually find their way back to the dubby ambient, but as it stood, Three A.D. was their final say on the sound they built their print on. I mean, it’s not like they had much choice in the matter, what with Beyond folding the same year. Gotta’ start branching into other fields, other genres, other artists… maybe other labels to import gobs of material from.

Waveform wasn’t quite yet beyond their Beyond association, Three A.D. cribbing over half its track list from the big brother’s final compilation, Ambient Dub Volume 4 (Jellyfish). These include the spaced-out ambient techno of Spacetime Continuum’s Oracle, the jazzy dub of Another Fine Day’s In 7, the ultra-ill trip-hop of Coldcut’s Sign, the soft ethnic chill groove of Insanity Sect’s Solar Prophet, and the meditative bliss of The Starseeds’ Regina From The Future. Series mainstays Higher Intelligence Agency, Sounds From The Ground, and A Positive Life naturally show up, though why APL’s Lighten Up! was picked for this compilation, I haven’t the foggiest: it’s not all that ambient, and quite the beast on your bassbins. Skank and Drawn To The Woman are HIA and SFtG’s contributions, tracks I already have elsewhere but nice hearing again.

The lone exclusive act to Three A.D. is Real Life, a short-lived group headed by Paul Castle, with Lee Rosemore and Matt Hazelden contributing. They released a few records on Ninja Tune’s offshoot, NTone, from which their track Shark Infested comes from. I'm reminded of older Future Sound Of London, what with lengthy atmospheric builds and bleep-tronics, plus is a cool tune opening this CD on. Oh, and in case the name Paul Castle rings a bell, it’s because he’d go on to do production for Ian van Dahl, Dreamcatcher, and Marc Almond. *sigh* Another promising talent lured away by the big money lifestyle.

As a swansong for the series, Waveform tried something different with Three A.D., a light theme of future travels into abstract realms. It explains the heavier emphasis on bleep-ambient acts in the first half of the compilation, settling into more grounded vibes on the other end. Also, the art is inspired by the experimental works of Swiss scientist Hans Jenny, who used sound vibrations on various fluids and liquid pastes. His work led to future psychedelic artwork and imagery, much of which is found in ‘90s CGI. Though in the case of all the globular redforms on this CD, methinks the folks at Waveform were watching themselves some ample amounts of Babylon 5.

ACE TRACKS: March 2016

It feels so strange only doing this once a month now. Like, such a significant gap of alternate content on this blog, no longer breaking up the monotony of just reviews over and over again. Might have to come up with some other thing, but with the insane backlog I’m accumulating at present, I kinda’ want to keep trudging through first. At least finish off the last of these massive letters before venturing onto other ideas.

Speaking of, the first half of ‘T’ is almost finished, which means that big bundle of used CDs from another will finally be tackled. Including the music I was already gathering myself, we’re looking at a pile of nearly fifty releases. That’s a significant chunk of time this electronic music blog that’s gonna’ be spent talking about rock, folk, alternative rock, metal, dark ambient, pop, punk rock, and maybe a little techno too. I won’t blame if some check out until June, but surely few of y’all are just anxious to read my thoughts on bands like The White Stripes, The Cranberries, The Clash, and The U2s. Meanwhile, here’s the ACE TRACKS for this past month of March:


Full track list here.

MISSING ALBUMS:
Moodymann - Technologystolemyvinyle
Skin To Skin - Temenos
And, technically, a lot of cruddy compilations, but most of their tracks are on Spotify anyway.

Percentage Of Hip-Hop: 25%
Percentage Of Rock: 4%
Most “WTF?” Track: Lee ‘Scratch’ Perry - Crazy House (how could it not?)

Hey, diversity! Boy, it sure was nice to compile a playlist with more variety compared to the previous couple months. Not that I’m treading that far from my go-to fav’ genres like downtempo dub (Sounds From The Ground, Mick Chillage), ambient techno (Si Matthews, The Black Dog), trance-pants (Stephen J. Kroos, Legend B), and quirky outliers (Autistici, DJ Hell). But with house, funk, g-funk, Detroit techno, EBM, synthwave, and alternative metal all getting a look in, March turned out a decent, interesting month’s worth of music.

But just wait for what April has in store…!

Various - This Is... Techno

Beechwood Music: 1996

Before they became notorious peddlers of dodgy electronic music compilations, Beechwood Music was known as peddlers of respectable indie music compilations. Meanwhile, their sub-label Mastercuts was a haven for those scouring the funk and soul archives in search of rare groove, classic jazz, and other vintage rhythm records trainspotters obsess over. Even their early forays into house and techno were respectable offerings, the minds behind the CDs clearly as involved in the UK’s acid house years as any regular punter. For all intents this was a class print on the independent market before they started getting their fingers deep into the cheap, bilge churn.

This Is… Techno came out in the mid-‘90s, as Beechwood was transitioning from ‘what was’ to ‘is now’, and already out the gate you see the problems surfacing. The cover art is astoundingly tacky, assaulting your retinas with ugly typeface, including an inexplicable italicized boldface in the back-half of a four letter word. I just… why? But never judge a record by its cover art, right? All that matters is the music within, and the tracklist does feature plenty bona-fide classics, with a whole slew of problems saddled alongside.

The first three tracks are as pointed as any in this case: Prodigy’s Poison, Josh Wink’s Higher State Of Consciousness, and Carl Cox’s Two Paintings & A Drum. Something sounds… off, in Poison, as though I’m listening to a rougher master rather than the smashing album cut. Higher State, meanwhile, makes no mention of it being Version 1, a mix closer in vibe to deep house than the famous tweekin’ acid funk of Version 3, for which I’m certain ninety-five percent of folks buying this would have expected. And don’t worry, trainspotter in the back anxiously waving at me, I know full well Carl Cox never released a track called Two Paintings & A Drum, though the EP of the same title did hold his Phoebus Apollo. Which is the track we get here, in a severely edited form. Dammit, Beechwood.

Those are the most erroneous examples though. Mostly we get a lot of well rinsed-out anthems you should know off by heart (Plastikman’s Spastik, LFO’s LFO, Moby’s Go, Leftfield’s Open Up, The Orb’s Little Fluffy Clouds, Aphex Twin’s Digeridoo, Underworld’s Dark & Long, Carl Craig’s Dreamland, and others). Not a terrible selection of tunes, but hardly an adventurous assortment either. If you’ve even but dabbled in electronic music, you’ve likely got a few somewhere in your collection, with little reason to get this as well. True, most Beechwood compilations were designed with the impulse buyer in mind, giving them an easy starting point should they wish venturing further. This Is… Techno works in that regard, even if the information provided is sometimes grossly inaccurate.

And those infamous in-house ‘exclusives’ Beechwood was notorious for? Yeah, there’s a drab few scattered about, most of which are repurposed for the bonus mini-mix on CD3. In that context, they… actually do a good job representing techno’s rhythmic potential? Huh, go figure.

Various - This Beat Is Hot... The Compilation

Sony Music Entertainment: 1991

Not the first and most definitely not the last time a hit single was used for the launch of a compilation. Did Dance Pool have any long-term plan with this? Like, could This Beat Is Hot go on to become a running series? Would every subsequent B.G. hit earn its own compilation? Damn, we could have had a Colour Of My Dreams series, a Can We Get Enough? series, and a Stomp series! That didn’t happened, but it still boggles my mind that The Prince Of Rap’s This Beat Is Hot was hot enough to earn a compilation based on it. I don’t recall the track having any presence here in Canada, and believe me we weren’t oblivious to charting dance hits from Europe in the early ‘90s (C&C Music Factory, Black Box, Snap!, 2 Unlimited).

But a compilation named after his breakout single B.G. The Prince Of Rap done did get, marketed across both continents for maximum profit margins. This entailed giving both America and Canada different track lists compared to the European version. Like, radically different, to the point they’re almost completely seperate CDs. Hell, even the title track, This Beat Is Hot, has different mixes between the two, us folks in the Western Hemisphere treated to an extended Get Into The Rhythm Club Mix over the radio friendly 7” Remix on the east side of the Atlantic. Oh, and the track actually properly kicks our compilation off, whereas poor B.G. is relegated to third-track status in Europe. On the compilation named after his hit single!

C&C Music Factory’s Here We Go got the pole position in Europe, but we didn’t get that track at all over here, nor second track Let’s Go Back from Sake Stars, middle track Fue Amor from Jazzy Mel & Marcello Figueras, and final four tracks Shine On from Sold Out, What Is This Thing Called Love? from Alexander O’Neal, Bright Lights from Victoria Wilson-James, and Daddy’s Little Girl from Nikki D. Both versions do get a Culture Beat tune, but us folks are treated to I Like You versus them folks enjoying No Deeper Meaning.

I won’t get into the additional differences between the American and Canadian versions, though we do share Lil’ Louis’ French Kiss, Secchi’s I Say Yeah, and Double Dee’s Found Love. Exclusives to Canuckistan residents include world beaty Shamen’s Call from Dance 2 Trance side-project Peyote, Dana Dawson’s Tell Me Bonita, and Céline Dion’s Unison, a horrendous stab at penetrating the lucrative gay house scene any vocal diva worth her salt was shooting for. Seriously, those… snares, utter rubbish, and hearing a rap alongside Ms. Dion clashes in all the cringiest ways.

Oh yeah, the music! Lots of hip-house in its last throes before morphing into euro-house, some italo-house, and ample soul singin’ with funky grooves. This Beat Is Hot is a fun little CD for some throwback music, but if few of the tunes I named above ring a bell, it’s for good reason, that.