Only Built 4 Cuban Linx II
Corey Woods aka Raekwon The Chef, aka Lex Diamonds, aka Shallah Raekwon has been a staple in the Entertainment industry since his debut in 1993 as an integral part in undeniably one of the greatest Hip-Hop groups to date, the legendary Wu-Tang Clan. Rae’s verbal ability took center stage early in the original cult classic “Protect Ya Neck”, but little did the world know as we bopped our heads in unison to the mesmerizing Wu-Tang catalog, that we were merely indulging in delicious appetizers delivered by Rae. It wasn’t until 1995, when Raekwon The Chef emerged from the kitchen and invited the Hip-Hop faithful into his personal chamber and the world was privileged to partake in the perfectly sautéed full course meal cooked by the Chef himself culminating with the album that changed the game as we knew it…Only Built 4 Cuban Linx.
Only Built 4 Cuban Linx is a Hip-Hop classic that would serve as binoculars for not only how the general public would view Hip-Hop artists, but also and more importantly, how Hip-Hop artists would view themselves Raekwon has influenced many of the Hip-Hop aficionado’s such as Wyclef, Outkast, The Game, Mobb Deep, Jay-Z, 50 Cent, Eminem, The Lox and the late great Big Pun. Never before had the game seen the flashy swagger, coupled with the Mafioso undertones that so eloquently fit, along with the use of numerous aliases by an artist, the unprecedented skits, the Staten Island slang and the verbal techniques that Raekwon The Chef so effortlessly demonstrated in the Platinum classic album that would withstand the test of time. By possessing these rare qualities and Iron Chef credentials, the Brooklyn born “Shaolin” bred MC became one of the most versatile Hip-Hop artists that the industry has ever seen and considered by many as one of the Greatest MC’s Of All Time. Much like the career of one of his favorite artists, Marvin Gaye,Raekwon not only appeals to the male dominated street community but he also possesses the unique ability to attract a huge female following. The hoods all across America have been craving for it, the streets have been starving, and now the country is famished for the release of Only Built 4 Cuban Linx Part II (The Purple Tape).
With years of valuable experience from working alongside some of the most influential figures in the recording industry to date, Raekwon is ready to navigate his ship with the formation of his record label, Ice Water Inc. and reemerge his urban flair to the masses with the sequel to the aforementioned blockbuster…Only Built For Cuban Linx II (The Purple Tape). This Shaolin Island legendary flamethrower, gave fans something to chow on with the 08 release of the “Vatican” Mix-tape and now he has prepared a delicious plate and his lyrical recipe has been groomed to make his presence felt nationally with the OBFCL II ‘09 release. With the smash hits “ Mean Streets“ and “ We Ain’t Going No Where“ featuring Busta Rhymes, this lyrical juggernaut has been marinating and is now ready to assume the throne and his rightful position as the flashy Don of Dons and Hip-Hop ambassador in the entertainment industry.
The album features cameos from many industry heavyweights such as The Wu-tang Clan, Jadakiss Styles P, and many others. OBFCL II also features blazing tracks from the who’s who of extraordinary Hip-Hop producers such as the RZA, Eric Sermon, Dr. Dre, Scram Jones, Pete Rock, Marley Marl, Allah Mathematics and J Dilla, layered with Raekwon’s melodic flows, thought provoking visual content and street orientated delivery, Only Built For Cuban Linx Part II (The Purple Tape) will produce the dish that true Hip-Hop heads have been salivating for many years.
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Prior to the release of this now legendary and ground-breaking album, hip-hop had arguably developed into a very fragmented genre of music, both geographically and stylistically. Geographically, as with the rise of Death Row records, and several conscious rappers like Del, A Tribe Called Quest, and Pharcyde, L.A. had become the new hip-hop capital of the world. the industry in New York was left in its wake (for this review we are conveniantly ignoring the Wu's "36 Chambers" in 1993). Meanwhile in terms of style, commercial hip-hop, and specifically gangsta rap, had popularized a self-centered syle of narrative which relied on promoting oneself and blasting others on simple one-liners and rhyme schemes.
Enter Nasir Jones aka. Nas. 1994's Illmatic displayed not only some dangerous and grimy beats that reflected the violent nature of the NYC streets, but more importantly, a vicious poetic style that combined the hardness of gangsta rap, with the highly-detailed narrative, skillfull obeservation and deep self-analysis that was often the focus of conscious rap. Along with Wu-Tang, Nas helped firmly re-establish NYC/East Coast as the epicentre of rap, and nearly every rapper who strives to work beyond the now horribly rigid structures of commercial rap owe it to Nas and specifically this album- even Nas' arch-enemy Jay-Z.
This is without a doubt, an exceptional album. where much of gangsta rap embodied old funk samples and stagnant beats, this album is a dark, brooding masterpiece in terms of production, characterized by smooth beats, and a plethora of jazz, soul, and obscure vocal samples. the lyrics, as mentioned repeadtly is the real focus here however, as there is pratically no filler in this regard- each line was written with a prior intention to leave a mark on the listener and are all successful in doing so. a masterpiece.
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Tech N9ne
- Sickology 101
For most rappers getting signed to a major label is like reaching the Promised Land. Before the ink has even dried on the contract they’re already wondering what color jet to buy. But in reality, that “major label as savior” mentality is a fairy tale and the rappers who believe it are naive at best and childish at worst. Truth is, hitting the majors can be spiritually and financially bankrupting (just ask Joe Budden). First off, you can kiss any creative control goodbye. Hell, you won’t be able to put on a pair of jeans without a stylist’s approval. Second, those fat checks you thought you’d be cashing? Try massive debt after you pay the $200,000 you owe T-Pain and Weezy to appear on your failed album. Yes sir, it’s enough to make a man want to stay independent.
If independent rappers need a hero, someone to look up to when the myth of the major label deal starts calling their name, Tech N9ne is that man. Based out of Kansas City and away from the homogenization of the mainstream spotlight, Tech’s created a style so unique it’s almost impossible to describe; imagine if Bone Thugs and Eminem had a baby, and then that baby grew up listening to hardcore rock. And as far as the bank account is concerned, he’s sold over one million albums on his own label (and pocketed an infinitely higher percentage of those profits). In fact, Tech’s been grinding so hard that his latest effort Sickology 101 is his ninth album, and his second all collaboration album. Tech’s not for everyone, you either like his style or you don’t, but every rapper’s got something to learn from Sickology 101.
There’s no better way to introduce the uninitiated into Tech’s devilish world than the title track Sickology 101, a fiendish banger that brings on fellow underground legends Chino XL and Crooked I. Sickology is a perfect example of Tech’s densely melodic rhyme style, a verbal assault that sounds like a symphony of machine guns, and with Chino and Crooked predictably murdering their verses Sickology the track is a fitting opening shot in the hip-hop war that is Sickology the album. Tech is the biggest rapper to ever come out of Kansas City and he put his Midwest roots on full display on Midwest Choppers 2, a track featuring such fast-paced rhyming even Twista would be hard pressed to keep up, thanks to flows from Tech, K-Dean and Krayzie Bone. Both Sickology and Midwest Choppers are one-in-a-million tracks, and it’s hard to believe either would have been released on a major label, something Tech is only too aware of. In fact, he spends his only solo tracks on the album breaking down the mainstream music industry he can’t or won’t join, from the slowly winding Red Nose to the drama-filled Blown Away, a track that aims to expose some superstar artists diva-like tendencies (most prominently Keyshia Cole). Ironically Red Nose and Blown Away are also reminders that the album’s strength in numbers is also its weakness – ultimately its at its best when Tech is in sole control.
Tech may take his music seriously but Sickology is by no means a serious album. Throughout the album Tech makes it a point to focus on his two favorite subjects - alcohol and women. Or more specifically, women’s breasts. Or more, more specifically, womens’ areolas (the area surrounding a woman’s nipple). Poh Me Anutha is an alcoholic ode to the pleasures and after effects of too much drinking, an adults only joint that exhibits Tech’s more comedic side. Equally amusing is the pounding Party and Bullshit and the “never say your sorry” anthem Sorry and S**t. In fact the man’s got an entire track dedicated to the aforementioned areolas – appropriately titled Areolas – a quasi-satirical track with a chorus that’s impossible not to chant, as long as there aren’t kids anywhere in the area. Tech’s ability and willingness to make highly skilled and highly-profane music has earned him a cult following, and that cult’s growing so large it’s threatening to become a religion.
Are you trying to seduce a hot date? Looking for something fly to bump as you roll down Rodeo Drive in your (rented) Lamborghini? Then I highly recommend you stay the fuckk away from Sickology 101. But if you like unflinching creative expression and no holds barred hip-hop, then sit down and start taking notes. Class is in session.
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