producers: erick sermon, rockwilder

Erick Sermon is a legend. Straight up. This year he created added a modern classic to his track record with "Music", that borrows much from a song by the even more legendary musician Marvin Gaye. That track came at the right time too, as this producer lost the status of being considered one of the best, now being one of the many. The track also gave Erick the attention of the hip hop audience, instilling an anticipation in 'em for the album. And the rumors that circulated about a suicide attempt (and Erick spits in "The Sermon": "sometimes I wanna end it all / live at peace, with 'Pac and Smalls / can't do that, got fam at the crib"), car accident, or whatever, further made sure that his name was in every serious head's mouth at least once this year. Hence the thing we have to discuss in this review will be if Erick was able create an album of the quality of "Music", or if he's continuing to do these similar things he does since "Double Or Nothing".

The answer unfortunately is, that he stays within shallow waters, that he walked through before, and that many old heads will not be excessively tempted to get their feet wet for. But as we are, as scary as this sounds, living in a world where so called rap fans don't even know one EPMD track, or the majority of what Erick has done since then, there's a potential clientele for his music, that still has virgin ears. And there shall be no doubt allowed, that for them this album holds quality, as what Erick is doing (funk heavy beats, and combining them with good times braggadocios rhymes), is just like what he always did. Obviously we are allowed to mention that there's no reason to sample "Freddie's Dead" by Curtis Mayfield again, when you don't do anything special to the sample. Hence "Come Thru" sounds rather heard before. Or how often can you sample "Genius Of Love", and why do we need this chick (Olivia) sing on "Genius E Dub"? Even worse: listen to "Ain't No Future...2001". Come on, how wack is it to use the same sample twice, especially as the first time you used it was on one of your biggest and most acknowledged hits?

It gets really disgusting on "I'm That Nigga", where the beat is just wack, and as the lyrics are not so unique, but rather of substitutional quality on each track (meaning, they could easily be on this, or that or the other track), they are not saving the cut. And how corny is it, to try to repeat the success of your last hit with the next cut? Because Erick once more samples Marvin for his "I'm Hot". He combines it with some T&A video and things are just bad. Further what was he trying to accomplish with "Up Them Thangs"? Cash in on all those Southern, Country hybrids? Anyways, the cut doesn't work and Keith Murray sounds awfully misplaced, with this beat only working for Cadillac Tah.

If we dig for examples that are showing how it should be done, then there's "Now Whut's Up", featuring Keith Murray, Redman and Sy Scott. This sure features some previously heard sounds, and there's nothing groundbreaking about it, but its straight forward approach just works. Also the Def Squad emcees always sounded good together, hence they are repping this track correctly too. And on another team effort things work too, as "Do-Re-Mi" is pleasantly simple, while ex-labelmate LL Cool J and Scarface are helping out to rip the cut. It also features the clever chorus going: "Do - get this bread, use ya infrared / Re - fuck the industry, it's all about / Mi - you ain't goin - Fa / L said it - So, puffin on the - La", while lyrically the three veterans are setting some things straight, with giving left blows, right hooks and all those punches to those new sensations that pop up talking all that blah blah. A solo cut that can get our okay is "The Sermon", that features a lengthy sample from R.Kelly, who so is providing the chorus. The beat however is nicely simple, with Erick getting more serious lyrically, what seems appropriate for someone that's in this game for some years, as well as on this planet living his life for some years.

And then there's "Music", that's still an incredible track, despite the fact that you've probably heard it a couple of thousand times already. This is having all the soul we want, all the forward direction, without forgetting what the pioneers did right. And Erick is willing to share the focus with the sample, that has the track have a balance and chemistry, that makes it the modern classic it is. Quite expectedly, there's also a "Music (Remix)" of the cut on here, while remix is according to the new definition, where a 'remix' usually sounds totally different or has new cats rhyming to it, and is not an alternative (meaning similar but different) version of the original track. So what changes on the remix is, that Redman and Keith Murray are spitting verses, and Marvin gets some more, or better different room, as he's still singing all over the track, but the call and response with Erick is gone.

Now this review was written by someone that grew up with Erick's music, and as I acknowledge his legendary status, I at the same time expect nothing but legendary material from him. Especially as that "Music" was so promising. While I can still bounce to this and see the entertainment value in it, Erick is falling short in remaining one of the leading artists, that paves the ways, rather than filling the same holes. Hence this album is aight, probably good for those grasshoppers, however, what Erick does is supposed to be excellent.