Lost Albums: Pro Tools

This is a new feature I’m thinking of starting. Basically, I’m gonna look back at albums that I really liked that didn’t seem to get as much pub as I think they did. I might just review them, I might just talk about them, it’s open ended right now. I may not even do any more of these. Let’s see how it works out. The first album I want to tackle is The GZA’s Pro Tools.

Pro Tools was the first album I ever bought with my own money, having found it in a bargain bin at Wal-Mart or Best Buy or some other big store, I can’t really remember. What I did remember was that I was struck by the cover art and track listing on the back, and since it was cheap, I bought it. Because it was the clean version, it was the first rap album I could play around my parents (yes, I know, I was lame) and I played it like hell. Considering how much I played it, I developed a real familiarity with it. As I did so, I started seeing real complexities in the lyrics. This was deeper than your average rap album.

The main criticism lobbed at Pro Tools is that of subpar production, and while it’s true that only having RZA produce one track didn’t help the album, this isn’t a CD that lives and dies by it’s sound. In fact, the beats do well to complement the lyrical content of the album, which is where the GZA shines.

Those who have listened to Liquid Swords know that the GZA is a lyrical assassin. It’s his calling card, his trademark in the rap game. Even as a full time member of the greatest group in rap history, he was considered the head, hence the nickname “Genius.” On this album, he returns to the lyrically fertile lands of his first classic. He’s got some gems on this one, from the first song after the intro, “Pencil,” featuring Masta Killa and and the RZA, to “Alphabets,” a concept song similar to “Labels” where he uses words starting with every letter of the alphabet, in order, to the vicious Ether-ing of 50 Cent on “Paper Plate.” The second half of the album drags a tad, with no real stand out verses, but with the sole production credit from the RZA and a general uptick in production quality, it’s a generally satisfying listen. The album ends on a high note with a live performance showing the GZA at his professional concert best.

In the end, this was a largely overlooked album that suffered from average (at best) production that still managed to shine thanks to a lyrical virtuoso performance from an old favorite of hip hop heads. There’s really no reason this should be one of the most played albums I have, but it is, and I’m thankful for it. If I hadn’t found it in that bargain bin, I might still be listening to old DMX singles sent to me over AIM or downloaded from Limewire. I think we can all agree that would have been a shame.

On The Fulfillment Of Musical Dreams

I've been on both sides of the Eminem debate. I've exhorted him as a champion against the rap doldrums. I've also disowned him for (gasp) selling out and becoming boring. So I feel particularly well suited to discuss the new, official, Bad Meets Evil EP. And what do I think? Well, it's complicated. 

There's no denying that Eminem is one of the most technically perfect rappers, not just of his era, but of all time. His flow, breath control, and rhyming ability is rightfully legendary. There's also no denying that he hasn't been able to recapture the wonky and more than a bit crazy magic from the turn of the millennium. So we're left with a rapper who can rap as well as anyone, ever. We're also left with a guy who's become Generic Fast Rapper 2.0. 

Royce Da 5'9" is a different beast entirely. He's interesting if only because he's so antagonistic. While Eminem is loved and revered almost universally in the rap game, Royce still has haters. That provides emotion that, while shallow, isn't as forced as Em's. Still, Royce hasn't made a good album since Death Is Certain, and in the meantime, he's been pigeonholed, perhaps deservedly so, as a mixtape rapper, someone who can spit hot fiya, but apparently can't make a cohesive album. 

So what we have on this EP is two supremely skilled rappers, who make machine-gun rap to blast your eardrums with. We also have two seemingly past their prime legends, who can't put the songs together to make a cohesive record. They do machine-gun rap exceptionally well though. This is well worth it for those of us who dreamed of a Bad Meets Evil full length. If you've never wanted to smoke til you look like a Vietnamese person, but you're a fan of quickfire rap, you should also check this out. 

3.5 out of 5

The State of Hip-Hop Today

So as I was leaving the gym the other day, I ran into a friend from high school. Now, this guy claims to be a "hip-hop head", and he seems pretty knowledgeable about rap music today. Eventually, the talk turned to music, and I offhandedly referred to Illmatic. What happened next left my flabbergasted. He said to me: "Oh yeah, Illmatic, I've heard of that album, it's pretty good, isn't it?" Now, those of you who are reading this blog and have any knowledge of music whatsoever should know that Illmatic is, bar none, the greatest album in rap history. Someone who purports to love rap music should listen to it at least once a month, if not once a week. What struck is me that this is a guy who passes for a fan of rap music among today's youth, of which I am a sad member. That spoke to the sad state of hip-hop music today. I'm not sure how to fix it, all I know is that when kids can quote Drake, and yet have no knowledge of Illmatic, humanity as a whole needs to worry. So I implore you: find someone who hasn't listened to the classic albums from rap's Golden Age, sit them down, and play some of them, one after another. Be a shepherd to these poor sheep.