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| producers: lyle
muse |
| guests: ron ceez,
tiffany j, wil da beast |
| year of release:
2001 |
| rating |
| click
for explanation |
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| tracklisting |
| 1. The Journey |
| 2. Don't Fuck Wit
Us |
| 3. It'z
Me |
| 4. Creme Fiend Anthem
feat. Ron Ceez |
| 5. Zone Of My Own |
| 6. Bustin' Loose (Poolwalk) |
| 7. Liquidda |
| 8. Too Hott |
| 9. What More Can I
Say |
| 10. Revenue |
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11. Ain't Doin It
Right feat. Tiffany J.
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| 12. Laffy Taffy |
| 13. Doin' Yo Thang |
| 14. Generals Daughter
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| 15. U Know Da Name |
| 16. Deep Freeze |
| 17. MI:2 feat.
Wil Da Beast |
| 18. I |
| 19. Outro |
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| Master
And Juggernaut Of Rhymes |
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Major is part of the
Crème Fiend collective outta Chicago, and the kid is
nice with the words. Especially when it comes to adding
them up to punchlines, something that he thoroughly
does on "Don't Fuck Wit Us",
the first full track after "The
Journey" opened up the album. Here we get
lines like "with lyrics so deep I tap oil", over the
production of Lyle Muse, who handles that part on the
whole album. Now, this is also the aspect of the record
that several times is not getting us too hyped. But
not on "It'z
Me", where some old funk sample is dusted
off and looped. And as nice as this is, it's again Major
that gets more props, as his lyrics, going through a
few hundred movie and TV show titles, are even better.
Next, Ron Ceez drops by to do the "Creme
Fiend Anthem", and here the rhymes get a
little more street.
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The beat for "Zone
Of My Own" is very bare, it being mainly
a bass and a drum, but it still sounds better than the
fake orchestra sound of "Bustin'
Loose (Poolwalk)", where Major is addressing
some females with some nasty talk. Still opting for
that keyboard sound, "Liquidda"
is more appealing though, due to the musical quality
of the beat. Again women are the topic of choice, but
this time in a more respectful fashion. Then again,
this is not even talking about a chick, as this is talking
about Mary Jane, or money, or something different in
every verse, or as she / it is called here "Liquidda".
And for the chorus elements from "Bonita Applebum" are
borrowed, making this a sing along track. The next cut
claims to be "Too Hott",
and it also claims that his "shit drop thicker than
elephant crap". Again the punchlines are definitely
working.
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Once more we realize
that the beats are sounding better when they are based
on a sample, as the opening drums of "What
More Can I Say" are keeping us interested.
Also the rest of the beat is able to hide the fake piano
better than usually. The lyrics at times paraphrase
the original ones that were spit over this beat, and
otherwise, the words are about some gold diggerish chickenheads,
making this track one of the better ones. And well,
things are returning to outbursts of the keyboard of
choice on "Revenue",
before with Tiffany J. another guest shows up on "Ain't
Doin It Right". Major is changing his flow
for this cut, making it quicker, and more staccato.
We are then happy to report that "Laffy
Taffy" features another appealing beat, as
it is again kept bare, and nothing too flashy and synthetic
is thrown in the front.
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Moving on we get "Doin
Yo Thang", where Major returns to one of
his favorite subjects: women. And he's trying to motivate
them to do some adult things, talking to them in a pimpish
manner. "Generals Daughter"
is more a story telling track, being about some hustling
activity going on, before she enters the scene, her
happening to be the main characters in this tale. We've
heard the sample on "U Know
Da Name" before somewhere, but we are glad
to find another beat to accept. Lyrically we are listening
to some bragging and boasting rhymes, and the same can
be said about "Deep Freeze".
And once more Major keeps them funny lines coming. Lyle
Muse once more succeeds on "MI:2"
a track that features Wil Da Beast. The voices are somewhat
buried in the beat, however, that part of the track
is keeping things hollow, with synthetic drops, so things
sound okay. Then there's "I"
and "Outro" still
left on the album. And the "Outro"
is only an 8 second something, while "I"
is having us listen to Major showing and proving, making
this an extroversive introspective song.
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Well, things are obvious
by now: the beats are done in that fake instrument style
that is just hardly getting any love around these parts.
Sure, they got some musical elements and all that, however,
they just got that fake instrument sound. On the lyrical
side though, this record gets some props. Major is just
giving us enough clever punchlines and enough good verses
to save the album. And so for the next album we hope
that Muse is plugging in his sampler more often, or
that Major is opting for some other cat's beats. Straight
up.
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| review: tadah
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