label: in da lab
producers: lyle muse
guests: ron ceez, tiffany j, wil da beast
year of release: 2001
rating
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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

11. Ain't Doin It Right feat. Tiffany J.

12. Laffy Taffy
13. Doin' Yo Thang
14. Generals Daughter
15. U Know Da Name
16. Deep Freeze
17. MI:2 feat. Wil Da Beast
18. I
19. Outro

 

Master And Juggernaut Of Rhymes

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.

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.

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.

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.

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.

review: tadah

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