Devin The Dude, like fellow walking riots Redman, Ol’ Dirty Bastard and Biz Markie, pretty much doesn’t deviate from his oddball path. You know each time out what you’re going to get even if the trimmings are a bit different than what you had in mind. For an artist that may not fit inside the confines of what many might consider an emcee he has carved out a niche for himself and has a string of consistent albums under his belt.

This is the reason why Suite 420 is a bit of a letdown for me. The problem isn’t so much Devin’s mic performance. If you have a problem with tales of smoking weed, growing weed, having sex with women while smoking weed, replicating DNA using weed as a catalyst, etc. this or any Devin album isn’t for you. But it’s more so in how uneven the production provided by the Coughee Bros is on here.

The record starts off wonderfully with the “Cultural Coughee” skit and “We Get High”, which would sound at home on any of Devin’s previous releases. The futuristic funk production blends right into “Still Comin” and acts as a mini song cycle. With lines like “I write a verse, do a song, sing a ringtone/anything to keep you on my dingaling bone” its pretty clear that age — he’s 40 as of June 4 — and tenure hasn’t cleaned up The Dude’s act any, thankfully.

The middle portion of the record is where the quality dips a bit. “I Gotta Ho” and “Ultimate High” have beats that are below Devin’s standards, but the delightful corniness of Devin’s singing on “I Can’t Handle It” is so great that it almost makes you forget about them. “Where Ya At” doesn’t fare as well, as the disjointed BBD style singing doesn’t mesh well with the generic  sound bed.

Things pick up again on “Its On You” as Devin is joined by Korey-B, Ced-B, and Tony Mac for just exactly what you would gather knowing the parties involved. The “Twitta” skit leads into “Lil Funky Freestyle” and closes the album out with a bang.

There are no high profile guests on Suite 420 and, as a matter of fact, it’s probably better off as a result because you get to see The Dude’s personality on full display. That’s a rarity on a hip-hop record nowadays. Barring the production missteps and lapses in sequencing, Suite 420 is more of the same from Mr. Boo Boo’n. And if you have followed him since his days in The Odd Squad, you’ll know that’s not a knock.

2.5 out of 5

Shortly after getting the call to do this review, I had a hard drive crash and lost the use of my computer for almost a month. Because of Erik L & Illingsworth’s Northern Connection, I’m actually glad it happened. I took the extra time to listen a little closer to this record and while I liked it the first go-round I got a better feel for it and HAD to redo this review to do it justice.

Consisting of both instrumental tracks and songs with vocals on them, Northern Connection is quite the experience. And the sequence is on point as well; despite the fact that the bulk of the songs with vocals are on the front end of the record, the instrumentals that follow are so well put together that you hardly notice. The title track starts off with a vocal sample from OC and Bumpy Knuckle’s classic back and forth on “Win The G”, followed be DJ Devastate’s scratch montage. The electric vibe continues into “Shogun Assassins” as Ohkang and Black Reign come with those familiar Detroit City threats we’ve come to love over the years.

Along with “Galaxy Express”, featuring 7even Thirty, the vocal songs play more like a song cycle since they flow in and out of one another while not sounding redundant. The first instrumental track, “The Warriors Did It”, is a clever and well executed chop of an early NES game but I won’t ruin it for those of you who DITC (Diggin’ In the Cartirdges).

From the sound/art quality lamentation of Musical Addiction” to the closer “Y Stop” there isn’t a song that goes past the 3:15 mark, with most clocking in at a little over two minutes each and a few not even reaching that point. It was a wise decision because it increases the listening experience by employing the ‘less is more’ approach of albums like Donuts and Madvillainy by making you reach for the rewind button.  I listened to this album 4 times consecutively without even realizing it and I found myself hitting the back button several times, but never the forward button. This album is only a little over a half hour long but the replay value is through the roof. Each song has different feelings and textures but they coincide with the album concept (all the way down to the cover art, which looks like something Samurai Jack would encounter in a fun house mirror).

I’m going to keep in line with the concept of Northern Connection by cutting this review short and simply telling you to get your hands on this (legally).  I promise you’ll be hard-pressed to find a producer collaboration (!) album as consistent and thorough as this one, and I hope you’re tall enough to get on the rides this sonic carnival provides.

Los Angeles’ own Nocando must have decided that when he was creating Jimmy The Lock (Alpha Pup) that he was going to go against the indie grain and eschew the ‘I’m broke as a joke and it ain’t funny’ shtick in favor of experimentation and inventive rapping. And he does so to his merit, giving this 12-song debut a potent dose of charisma without overdoing it or relying on zaniness.

On “Head Static” Nocando sounds at home over Nosaj Thing’s synth-burping backdrop, bouncing all over the song while not losing an ounce of clarity. “I wanna go to heaven just to fuck an angel/I said to myself while I was busing tables”, Nocando throws out while explaining his struggle of getting to where he is with his music. A bit distorted? Sure, but this is Hip Hop we’re talking about.

Joined by Busdriver on “Two Track Mind”, Nocando explains what two things are on his mind more often than not (like I said, this is Hip Hop so take a guess) then trades eccentricities with Iron Mike Eagle on “DSD2”. Along with Nick Diamonds’ appearance on “You Got Some Nerve” and VerBS’ showing on “I’m On”, the guest appearances add to the songs and aren’t the usual verse tacked on at the end with no real thought going into song structure.

The middle portion of the album shows commendable range of topics and sounds and is sequenced very well. These songs are the ones that hold the record together and mostly feature Nocando on his own, showcasing his ability to carry his own weight. Let it be known that the guests only add seasoning to this broth and in no way try to hide low-quality filler.

“Skankophelia” meshes soul sample chopping with trunk rattling to great effect as our guy weaves a tale of falling in love with women who clearly that don’t have a clue of their own potential.

Nocando’s voice and delivery meshes completely with each song’s music, which is uncommon on an ensemble record of this type. Varying from laid-back storytelling and imagery to high velocity nasal braggadocio reminiscent of E-40, he keeps things fresh when the music starts to run together by switching his approach. The result is a good one, since even with a production stable as diverse as this one (Thavius Beck, Nobody, Daedelus, Maestroe, Free The Robots, Th’ Corn Gangg and the aforementioned Nosaj Thing), at times the vibe can make a sequence seem like one long song. With most songs clocking in at around 3 minutes each, the short and sweet approach serves his sound well as it highlights his ability to convey variety.

Nocando is off to a good start with Jimmy The Lock. Displaying great style and a focus on solid emceeing with no distracting tricks, and a value for quality control, he may not need to credit card the deadbolt if the industry keeps leaving the window open.

3 out of 5 stars

3 out of 5

Over the past few years there has been a slew of MC/producer records, indicating a return to the way-we-used-to-do-it type of album crafting that I’d like to see continue. Theory Hazit, along with Dutch producer Toni Shift, delivers Modern Marvels (Illect), a record as impressive as any of the aforementioned crop.

“The Hurricane” opens with verses from Hazit and scratch montages by the talented DJ Idull. Referencing to the boxer of the same nickname, the song sets the tone of the album quite nicely by proclaiming the power of the emcee/DJ combo. The most unique thing about this song along with the title track (featuring an aggressive WildChild) is what it represents, or doesn’t, in the instance of the album. Primarily known for hard-hitting, witty rhymes, Hazit seems to get this one out of the way to make for some intimate yet easy to follow songs that touch on a wide variety of topics usually unseen from a typical ‘beats and rhymes’ emcee.

The creative apex is “Concealed Weapon”, where Shift provides Theory with a modulated backdrop that Hazit uses to tell a story from the perspective of a child ridiculed by bullies, as well as his own father, for being socially awkward. “Things ain’t been the same…since my mom passed away/I just wanna go away…I just wanna go,” Hazit’s character muses to himself as the song opens. It’s a particularly vulnerable moment The Ruler himself would be proud of.

From “Careless Mister” through to “Uncanny”, Theory Hazit proves himself more than one dimensional, as does Toni Shift, simultaneously adapting and intertwining with each other’s style and manage to create something truly special. Shift’s music is a departure from the rhythmically rigid synthy sound that dominates currently, as well as the boomy kick/burpy bass/eye-blinking snares of today’s underground scene. Seemingly unfazed by the ongoing ‘sound wars’, Shift has crafted a sound that’s well suited for headphones. In fact he actually bridges the two very convincingly by stressing composition and structure, never letting one element overtake everything else. The several sound clips in between songs find ways not to distract from the songs they follow and precede, adding to the listening experience over repeated listens.

Albums like this usually tend to drift lyrically and the music keeps them afloat, or the reverse happens and the music gets stale but the verses keep your attention. But with no real intro or outro to speak of, the 15 songs play well in back to back listens and there is o real drop off in quality between them. You may find yourself liking some songs more than others but as thorough as this record is that’s to be expected.

If you’re familiar with Theory Hazit’s track record, you’ll know after a few listens that with his co-conspirator he’s done it again. No lover of emotive lyricism or refreshing sonic approach should go without listening to this record, as these modern marvels get the job done like Stan Lee and Jack Kirby’s greatest creations.

When was the last time you heard a FUN Hip Hop album? Not a party record, not a club record, but a FUN Hip Hop record? Think about that for a minute then read the rest of this review.

New Jersey MC Kosha Dillz and L.A. producer Belief deliver the feel-good record of the (last) year in the form of Beverly Dillz (Kosha Dillz World/Shemspeed). If urban legend is to be believed, the record was recorded entirely in the Beverly Hills, Calif. Now don’t get the wrong idea here, Dillz is no slouch on the mic, even when not delivering the headiest material.

“DooDoo” opens the record up with loads of bounce and playful energy. It’s not bounce in the down-South use of the word, but in the fact that the chemistry between the music and the vocal performance are off one wall and onto another. And just in case you haven’t been debriefed enough, there’s plenty more where that came from. He has one foot firm in the past glories of jovial Hip Hop from the early ’80’s and the other in post-hipster good-time music. OK, I made that last one up, but it sounds great, right? Honestly, Beverly Dillz could be background music for any dance scene in Kickin’ It Old School or be playing out of a car radio on Just One Of The Guys and I wouldn’t bat an eye.

“Fat Love” is a throwback to what Kurtis Blow would refer to as “demonstrative rapping,” or picking one topic recognizable by almost anyone and making a song about it using specifics. It’s a lot harder to do (and maintain your credibility as a man, much less as an artist) than it sounds, but Kosha shows himself worthy to continue the tradition.

“Bubble Gum Pop” is a hair away from not fitting in sonically, but Dillz pulls it back in off the strength of his witty, well-timed rhyming. On the other hand, “Tastes Good” has him seemingly bucking for the next position in the “abstract imagery that sounds absolutely in place with reality” line behind Kool Keith, CL Smooth, and Ghostface Killah. The track features Dillz delivering not exactly rapid-fire but plenty nimble call and response nonsense over Belief’s percussion and horn instrumental. And he closes the record with “Kal Ha Kavad Kirkod”, a track that has Dillz fusing Hebrew spoken word with reggae pepperings. Even when toasting his heritage, he still manages to find the humor in himself and everything else.

Minus a few moments where things get to be a bit too absurd (which is sprinkled throughout the record and not gathered in one spot, thankfully) Beverly Dillz succeeds in bringing what made The Beasties, The Fat Boys, and the inimitable Biz Markie so well loved and respected in the first place. This is fun but classy music rooted in cultural pride and respectful craftsmanship.  Ray might have been right about it never raining in southern California, but Kosha Dillz and Belief brought plenty of heat to fuel the brush fires.

Support! Bekay – Hunger Pains

An emcee from the current crop of up-next challengers that not only flaunts the true nature of the culture itself, but is a student of said culture and wears that distinction on his chest proudly. And he hails from Brooklyn (as if you couldn’t tell from his moniker):  whodathunkit, huh?

Hunger Pains (Coalmine Records) is a study in pride and workmanlike effectiveness. In a rare coup for ANY rapper with no major label backing, Bekay has amassed a roster of high-profile music makers to create soundscapes to assist his more than deliberate rhythm technique. From J.R. Rotem to Illmind, to The Alchemist to Marco Polo, the music is well taken care of. Make no mistake about it, there’s no case of Bekay getting outdone on his own record by highbrow producers. With his vivid imagery and inescapable urgency, he more than blends in with the varied yet unified production.

If you need proof of my claims of this record’s merit, look no further than the first song, “I Am”. In a display of pseudo-personification Bekay proclaims, “I’m in BK when I write this poem/I’m two turntables and a microphone/yo, the feeling you get when you hear an ill line, the pad you scribble your rhyme into to kill time.” He spits that all over a DJ Revolution backdrop that co-signs him with endless scratch technique.

Over the first listen it’s easy not to spot the thoroughness of this record, but once you make it to the third or fourth go ‘round the consistency shines brightly since there are no real weak spots in the 15-track sequence. Bekay is definitely blue collar in his approach, but he is a bit more refined than you may expect. It won’t be too difficult for him to gain new fans from different demographics on this one.

Then there are the guest MCs scattered across Hunger Pains. “Pipe Dreams” pairs Bekay with R.A. The Rugged Man, who shows why having him guest on a record is an exercise in ultimate confidence (or exceptional bravery). On “The Raw”, Saigon and Inspectah Deck utterly destroy their guest spots, as do fellow monsters Heltah Skeltah (“Crazy”), Dilated Peoples (“I Am”-remix), Wordsworth (“Skemers”), and Masta Ace (“Brooklyn Bridge”).

Hunger Pains plants Bekay in the running for torchbearer of the culture. That’s not to say this record will be a platinum seller (at least not when I wake up in the morning). But this kind of quality and effort is an example of an attitude that should be displayed by any and all that call themselves “Hip Hop Artists.” To use a tried and true internet gauging technique, blue collar hustle>>>>>corner hustle, any day of the week.

Amazon: Masta Ace & Edo G. – Arts & Entertainment

Masta Ace. Edo G. If I had to pick 1o names in Hip Hop that are synonymous with stalwart vision and incredible consistency, and these two came out of the hat, I couldn’t be upset. Arts & Entertainment (Traffic (The Orchard) ) is a concept record reflective of the (some would say) necessary dichotomy of being dedicated to both your craft and your wallet.

At 19 tracks (counting the 5 skits) the album may seem a little bloated, but it floats along quite nicely. Considering that Ace and Edo are responsible for some of the most honest and well executed records in the history of the genre, there isn’t any song here that is wasted space or filler.

The first single, “Little Young”, is a witty response to the rappers that take the moniker of ‘Lil’ or ‘Young’ as a part of their musical identity and how it’s possibly tied to a refusal to be a man. Ace makes a statement about the state of mind on both sides of the topic with lines like ‘there’s no subliminal diss but someone will find it/you say Young Chris, I’m thinking about Criminal Minded.” Edo seems to be more than slightly peeved at the phenomenon; ‘Big Edo, lil rappers I’m belittling/that’s Lil’, Young, I’m admitting you’re a little young….hey rappers, where’s your little guns?’

Ace and Edo were smart enough to enlist guest emcees that are up to their pedigree. Large Professor, one of Hip Hop’s true geniuses (you don’t hear me use that term much, so make note and get familiar if necessary) delivers a stellar verse on “Fans, It’s good to know that an artist sees their supporters as more than a tab payer. Posdnous’ verse on “Good Music” is one of the best of the year easily; you know what to expect and it’s in no short supply. Lords Of The Underground’s Doitall is joined on “Round And Round” by Du Kelly, and “Pass The Mic” has KRS-One doing what he does better than anyone in the history of Hip Hop. In case you didn’t know by now, quotables abound on this record.

If there is a flaw to be found, it’s in the production. The beats aren’t bad on a whole, it’s just that the emcees are tearing through them with such purpose and tenacity that at times the beats don’t keep up. DJ Spinna, Double O, M-Phazes, Rain, Pav Bundy and DJ Supreme One provide good soundscapes but over the course of the record the lyrical execution doesn’t let up so the beats can’t afford to.

Arts & Entertainment, while inferior to A Long Hot Summer and My Own Worst Enemy, is worth more than a casual listen by anyone that’s a fan of lyricism and beyond-the surface topics. Irrelevant? Out of touch? Need to retire? In the now-famous words of our great philosopher Ed Lover, ‘C’mon son.’

DISCLAIMER: If you do not like well-executed lyricism and inventiveness in musicality, DO NOT LISTEN TO THIS RECORD AND NEVERMIND THIS REVIEW!!!!

Anyone that knows Minneapolis, MN Hip Hop (and in particular, Brother Ali) has heard the name BK-One. Spending the better part of a decade spinning for Ali has afforded him a fan base as loyal as that of the talented wordsmith. Created with co-producer Benzilla (I Self Devine, Toki Wright), Rádio do Canibal (Rhymesayers Ent) is a cultural showcase ripe with influences from Brazilian music.

This is not, however, a typical ‘DJ compilation’ or a mixtape: the fluidity of the record, from start to finish, is nothing short of astonishing and manages to accomplish the same feat as Wyclef’s The Carnival: bridging Hip Hop with cultural flourishes and textures while not losing the integrity of either. Don’t forget though, this is a DJ’s album so it leans more on that ol’ boom-bap than Clef’s lauded album.

Once you hear the spoken word piece backed by guitar work on the intro, you’ll know exactly what you’re getting is…something else entirely. With a virtual who’s who of true-school Hip Hop (Brother Ali, Slug, Raekwon, Black Thought, Phonte, Aceyalone, Scarface(!), Myka 9 to name a few), BK has all but guaranteed that a good time will be had by all. Unbridled lyricism is in no short supply on this record, as each respective emcee brings their A-game while bringing out the best in each other when accompanied. I usually make it a point to select choice verses or lines from songs, but this time, I couldn’t do it. I won’t even comment on individual tracks, this record is THAT well put together.

The music is so well arranged, the songs segue into each other and no two tracks sound alike. In the vein of albums like Supreme Clientele and Madvillainy, the majority of the songs here play with traditional verse structure; this keeps the music interesting and allows room for a more organic experience. It’s clear that BK-One treated this album as a work of art and not as something to be sold for cab money after a show; the musical statement made by having emcees from all over the country on an album rooted in South American root music is beyond words.

Usually interludes on records serve no purpose, except as a reason to fill up tracks and stroke egos; the five ‘ludes take nothing from the listening, and even more so, add to it immensely.

DJ BK-One has created one of the best albums of 2oo9, any genre. As far as Hip Hop goes, I’m placing it right along with Evil In the Mirror, Only Built For Cuban Linxx…pt II, and Born Like This as perhaps the best we’ve had this year. Do yourself a favor any buy this record NOW….BK-One did us one by making it in the first place.

GRIND. Worcester, Mass. emcee Quite Nyce knows those five letters better than the mixtape shouters that name songs and movements for it; ‘working hard’ doesn’t constitute punching vocals 2o times in a verse because you can’t stay on beat. Dedication to your craft pays off in ways besides fame and financial prosperity. Having the insight to be able to put together a personal (not mushy or self-exploitative) album such as Through My Eyes is a skill as important to the survival of emceeing as an art form as flow, lyricism, or dare I say it, chart position and public acceptance.

Said skill is what keeps this album from hitting the generic and meandering status of a number of lesser-known records that never catch the public eye for fear of preachiness or stagnation (y’all know I’m right, I take the underground to task too). It’s pretty apparent that Quite Nyce has more to offer than typical ‘wack emcees’ diatribes that plague said offerings; ‘see what I see, a man driven/a man giving endless supplies of himself”, as he states on “I Alone”, being a perfect example.

Just from observing the consistency of the lyrics, you can tell that Nyce took his time with this record, recording steadily over time as opposed to staying in the studio for two weeks and finishing before the tough-guy pose can be cropped in Photoshop. Nyce’s rhyme style is deceptively versatile, weaving in and out of topics deftly and always effectively enhancing the vocal performance. He seems more concerned with his contributions to Hip Hop than he is the state of if due to neglect; this is refreshing and provides a peek into his process without spelling it out, making the listening experience much more rewarding. Short on features (singers Paul Dateh “Head Over Heels” and Lisa Denise on “I Alone”, and Icon The Mike King on “The Specialist”), there’s breathing room for Nyce’s thoughts to roam free.

The beats vary from above average to stellar. From the understated but powerful “Jazzolution” to the laid back but urgent “Hold You Back”, the sonics of the record are varied and at the same time uniform, which is indicative of only a few hands stirring the musical stew throughout.

Unfortunately, the production is both a strength and a weak point of the record. The music is far from subpar, and the mixing is neither muddy nor spit-shined to the point that the life leaves the backdrops. However, the tempos of the songs seem to run together for the first half of the record. While this is a small gripe, it’s a big enough one to take away from the listening experience over repeated plays.

Through My Eyes is definitely a worthwhile listen, as long as you like your Hip Hop honest and thoughtful. Despite a few missteps, Quite Nyce has constructed something personal for all of us to see…through the eyes of the creator.

I’m not the type to complain that an album is ‘too short;’ I’d rather have an album with 14 songs that are great with no real down notes than an album with 24 songs that I have to peel through to find the three that I like. If I can get a great record without all the extra wasted space, I’ll gladly pay the same price for ‘less.’

With a hefty 12 songs (including the intro and the outro), Stereotype has amazing consistency from song to song. And as is the case with all short albums, there’s no room for wasted space and as is hardly the case for long OR short albums, there’s no space wasted.

Another thing the album does well is mix samples with live instrumentation. The textures differ but never compete, instead weaving a seamless tapestry of sound for Blitz to deliver lines like “it’s bad enough these kids are raised off of rap music/scared of their own voice that’s why they Auto-Tune it” (on the opening song “Something to Believe”). Blitz’s delivery isn’t what you’d call rough, moreso insistent and immediate, and he does a great job of catching the different rhythms and making each song work with one another in succession.

The island-inflected “Lover’s Remorse” is pretty much what you’d think it would be, topically, from looking at the title. And that’s not to say that this album is predictable or tired in the least. And in this regard that rest of the song topics on this record are easily related to and make the listening even more enjoyable.

“Home” takes a look at life situations for 2 different people that, not quite surprisingly, end in the same fashion regardless of circumstance. In a way, the songwriting and unusual structure of the verses (two verses instead of the usual three) adds to the tension of the song and serves the middle portion of the record well.

If this album has a weak point, it’s the number of features. Half of the songs have a guest of some sort on vocals, and with it being so short you sort of want to hear Blitz more. Likewise, he writes good choruses, so enjoyable in fact that you will end up wishing that Blitz blessed more hooks, even though the singers serve that purpose well enough.

Minor gripes aside, Stereotype actually is anything but. It would be great if albums like this became the prototype for future Hip Hop releases in taste, quality, and execution.