producers: lyle (tek) muse

guests: poolwalk, tina

Chicago is the place the In Da Lab family calls home. And after we put our attention to the Major solo release, the Creme Fiend crew effort "In Doe We Trust" reaches us with a wider variation of styles and voices, representing the camp. It's still Major though that opens the album with "Chicago Mod Squad", that is a very short track, it being counted out just under a minute. Here we are listening to more of those cool Major punchlines, before on "It's Us", Tiff J, Phat P and Wildabeast are sharing the tune, also over a Lyle (Tek) Muse beat, who's responsible for all the beats on the album. What will immediately attract our attention is the female dropping the opening words, her taking care of similar kick and hit combinations, that the male counterparts are known to do. The punchlines are somewhat reduces to give way for some more frowning lyrics, claiming the alleyways.

Major then returns for a postcards bought and sent in his home town, as this track is called "C.H.I.C.A.G.O.". But he's not taking on the job of tourist information, that would have him speak about the beauties and such of his hometown. It's rather the opposite, as he's making it clear for every listener, that Chicago has streets too, and thugs that roam it, that have more that speak for them than just home field advantage. He sticks around for the gather up of Big Nyce, Phat P, Wildabeast and himself, as they have been handed one of the strongest beats on the album to make it "We Right Here". This is followed by one of our favorite tracks on this record, and the Fiends quite possibly are not too happy about it. As "Faded Memories" is not a hard track, but rather a smooth, almost cute song, that is credited to G.O. and features Tina. She sings the hook and G.O. does what artists like this should do, as he's not glorifying anything, remaining representing and all those clichés, while at the same time having his lyrics feature as much observation as thought as a proud stance. Now these lyrics are actually real, not them flossing or threatening ones.

There's an interlude coming up called "Da Orkin Man", it building up the atmosphere for "Roaches", a track by Sean Da Shell and Major, also featuring Poolwalk. Here we can talk about the production of Lyle. He is doing his music with a keyboard, and that's how it sounds. And if you have been reading more than this one review on this very website, you know that we are not too keen on keyboard beats. However, there are some cats that are able to pull it off, sometimes even a Swiss Beatz. And so what we criticize is not the elements of Lyle's sound, but how they sound (if there's a distinction). Meaning that the drum is cool, the elements are aight, but they got that keyboard sound to 'em, and that's 'eeeeeh'.

The title track "In Doe We Trust" is done by Wildabeast, the lady Tiff and Major. Wil got that fast flow, that makes him come offbeat, and that would make him sound dope over a different beat. "Hot For Y'all" is then somewhat same sounding, as there's little variation in the background, giving the rappers the duty to make the tracks stand out. Bigg Twin and Major are held back by stereotypical topics too. Now keyboard beats are bad enough but fake piano beats are even worse, and that can be listened to on "It Can't Get Better". Well, sorry to go for this cheap one, but it can only get better, at least considering the beat. Tiff is again opening the track, with her doing promotional lung inhalation verses. Wildabeast is coming on later, but he can be listened to for a longer period on time on his solo cut "C.F. To The Death". Here we are once more giving props to Lyle, as he keeps the track simple, and the sounds accordingly, what makes it sound cool. The rhyming cat is using this chance to shine too, making us realize, that he, just like Major definitely got skills, that we would like to hear used over more appropriate beats.

And the two team up on "Sum Shit We Wrote", and they leave a path of victims amongst their footprints. What then leaves us with "M.A.J.O.R. Album Mid 2001" that's a quick snippet of a track of the Major album, to then change into silence, that is continuing for some period, before (after the mentioned while) a hidden track appears. We however shall be concluding about an album, that is giving us much of what we expected, what is not always a good thing though. What we like are the moments when the Fiends are focusing beyond the trying to come across as not to mess with, when they are spitting them punchlines, or when they are having their moments of clarity, that have them talk about their life's in a more reflective fashion. That might be no fair comment, as that quite possibly is not their agenda, but they'd secure their props and our attention if they have more of those songs in 'em.