100 Best Albums & EPs Of 2014 (Part One) – TPS Fam / Starvin B / Ghostface Killah etc.

It can’t be denied that 2014 was a great year for quality Hip-Hop. When I initially sat down to start putting together Old To The New’s annual 52 Best Albums & EPs list, it soon became clear that staying with that format would mean having to leave out a large amount of releases that I’ve had in heavy rotation over the last twelve months.

Another reason for wanting to highlight just how many worthwhile albums and EPs dropped in 2014 was to prove a point to those who still insist there just isn’t a notable amount of good music being released today. There are still plenty of talented emcees, deejays and producers across the globe who’re busy in their respective labs, meticulously crafting beats and rhymes in the hope that those of us who say we’re looking for high-standard Hip-Hop will take the time to listen.

As always, by no means am I presenting this as the definitive list of 2014 releases. In today’s internet-era, it’s impossible for anyone to say they’ve heard everything that’s worth listening to. No matter how much time you spend online listening to music, there will always be a dope project out there from someone, somewhere on Planet Rock that you won’t yet have heard of. The search is never-ending.

So, with all that being said, here are the albums and EPs that kept my head nodding throughout 2014…

TPS Fam – “Hot Water Music” (Revorg Records) – Finding creative inspiration in the mundane aspects of the daily grind, Jack Diggs, Big Toast and Strange Neighbour crafted a brilliant, sample-driven soundtrack for the working-class Hip-Hop fan. Balancing dreams and aspirations with day-jobs and overdue bills, the UK trio delivered down-to-earth rhymes with passion and sincerity, encouraging us all to make every day count whilst promoting their motto of “living like kings on a tight budget.”

Starvin B – “Blood From A Stone” (Goblin Music) – The first of two projects released by the talented Queens, NY resident in 2014, the One-Take-produced “Blood From A Stone” showcased the Rotten Apple rhymer as being a true student of the lyrical arts. Packing his vivid verses with gritty imagery, raw humour and witty wordplay, Starvin B let his personality shine throughout this project, with the likes of Spit Gemz, Tragedy Khadafi and Foul Monday on-hand to fill some well-placed guest spots.

Ray West & OC – “Ray’s Cafe” (RedApples45) – Proving that true talent really is timeless, two decades after the release of his classic debut album “Word…Life”, Diggin’ In The Crates legend OC teamed-up with Bronx producer Ray West to serve hungry Hip-Hop customers with this appetising platter of flawless lyricism and warm, soulful production. What’s next on the menu?

Stu Bangas & Blacastan – “Watson & Holmes” (Brutal Music) – Joining forces with producer Stu Bangas, Connecticut emcee Blacastan retained his reputation as one of the rap game’s most consistent artists with the release of this abrasive, hard-hitting album. Backed by Stu’s cinematic, drama-laced beats, the AOTP member delivered his usual high standard of raw rhyming, with brothers-in-arms Esoteric, Vinnie Paz and Apathy each taking a turn to help crush the competition.

String Theory – “String Theory” (Mic Theory Records) – Breaking the periodic table of poetry down to its very last compound, Florida’s Hex One (of the duo Epidemic) and Swiss producer B.B.Z. Darney came together to “swallow planets and freeze suns”, combining inter-dimensional mic techniques with rocket-fuelled boom-bap beats as they pondered both the laws of the universe and the art of rap.

DJ JS-1 – “It Is What It Isn’t” (Ground Original) – Veteran NY turntablist and long-standing Rock Steady Crew member JS-1 enlisted the help of a lengthy list of talented lyricists for his fourth collection of underground science. From golden-era icons such as Sadat X, KRS-One and X-Clan’s Brother J, to more recently established wordsmiths like Spit Gemz, Fashawn and Rasheed Chappell, “It Is What It Isn’t” effectively bridged the gap between the old and the new with impressive results.

Union Blak – “Union Blak Friday” (Effiscienz) – US-born emcee Kimba and UK beatsmith Sir Williams joined forces with France’s Effiscienz label to deliver a solid, succinct debut album. Demonstrating their shared passion for Hip-Hop with positive, upbeat rhymes and melodic production, the duo made it clear throughout “Union Blak Friday” that their aim is to add on to the culture rather than simply take from it.

J-Live – “Around The Sun” (Mortier Music) – There may not be anything new under the sun, but there’s still plenty of quality music to be found. Case in point, veteran NY-raised, ATL-based emcee J-Live’s seventh album release, which found the accomplished wordsmith delivering the clever, intelligent lyricism fans have come to rely on him for over production from Oddisee, Audible Doctor and DJ Spinna.

Souls Of Mischief / Adrian Younge – “There Is Only Now” (Linear Labs) – A concept album set in 1994 involving jealous emcees, kidnapping and revenge, “There Is Only Now” found the Souls Of Mischief members weaving intricate, story-telling rhymes around the live, drum-heavy musicianship of the talented Adrian Younge, resulting in an epic Hip-Hop tale  which contained more drama than an episode of “The Wire”.

Es – “Aspire To Inspire” (Essenchill Records) – Inviting everyone along on his quest for self-improvement, Canadian emcee Es’s second full-length project lived up to its lofty title in no uncertain terms. Packed with full-bodied production and uplifting rhymes about everything from fatherhood and relationships to self-worth and striving to maintain a positive mental attitude, it was near impossible to play this album and not feel better about life whilst listening.

Skyzoo & Torae – “Barrel Brothers” (First Generation Rich / Internal Affairs) – Self-confessed “products of Albee Square Mall” and Brooklyn-based brothers-from-other-mothers, Skyzoo and Torae came together to create one of the best examples of pure emceeing you were likely to hear in 2014. With bold deliveries and painstakingly well-crafted verses, the two BK lyricists sparred with each other over heavyweight production from the likes of Illmind and DJ Premier, each proving why their place among NY’s long line of noteworthy mic controllers is well-deserved. No frills, just skills.

Figub Brazlevic – “Train Yards” (FigubBrazlevic.BandCamp.Com) – Having already demonstrated his undeniable production skills via his work with the Man Of Booom crew, this instrumental EP release from Berlin’s Brazlevic blended head-nodding beats with jazzy samples and well-placed vocal snippets, creating a spell-binding project with plenty of musical depth and soul.

Confidence Presents… – “Confidence Presents GDot & Born Featuring Edo.G” (Audible Con Records) – Building on his already strong reputation as one of today’s most consistent producers, the talented Confidence orchestrated this true-school gem of an album which bridged the gap between the Boston Hip-Hop scene’s past and present. Relative newcomers GDot & Born shared mic time with Beantown vet Edo.G throughout this project, with all three emcees delivering positive messages mixed with b-boy bravado over Confidence’s quality brand of crisp, boom-bap beats.

Parallax – “Depth Perception” (ParallaxOfficialStore.BandCamp.Com) – The upcoming UK artist proved he’s as nice behind the boards as he is behind the microphone with the release of this succinct, largely self-produced EP. Utilising solid drums and dusty samples, Parallax waxed lyrical about a number of topics, dropping punchline-heavy food-for-thought on the state of Hip-Hop, media manipulation and the British justice system. Mental stamina, indeed.

Prince Po & Oh No – “Animal Serum” (Wandering Worx / Green Streets Entertainment) – Staying true to his claim of “having a lotta jewels, but don’t gotta wear a chain”, Organized Konfusion’s Prince Po administered a new brand of musical medicine to the Hip-Hop faithful with the welcome assistance of West Coast producer Oh No. Tackling a number of modern-day issues with typically dense, multi-layered lyricism, Po succeeded in soothing the suffering of all free-thinkers who find themselves trapped inside the Matrix.

Early Reed & J Scienide – “The Dose (The MFN Files)” (J-Scienide.BandCamp.Com) – Whilst putting the finishing touches to his own impressive 2014 releases, Low Budget’s Kev Brown found time to get behind this EP from his two fellow Washington D.C.-based crew members. With Reed demonstrating his mastery of the SP and Scienide proving himself to be a formidable talent on the mic, “The Dose (The MFN Files)” gave listeners a potent shot of pure Hip-Hop.

Freddie Gibbs & Madlib – “Pinata” (Madlib Invazion) – Arguably the greatest mix of raw gangsta rhymes and dope breaks since Brad Jordan joined forces with the Rap-A-Lot production squad for his 1991 debut solo album, Gary, Indiana native Gibbs’ drawling delivery sounded right at home over Madlib’s range of random sample material, resulting in an album that covered a variety of moods, from the soothing and laidback to the dramatic and urgent. Witness the strength of street knowledge.

Akrobatik – “Built To Last” (Playaktion Recordings) – Returning to the rap game after surviving emergency heart surgery in 2011, the title of Boston veteran Akrobatik’s third full-length solo album was as much a statement about enduring personal struggle as it was a comment on his forthright approach to his craft. Balancing content which covered his near-death experience, social commentary and Hip-Hop politics, Ak firmly stood up for his personal principles at a time when so many other artists are busy chasing trends and trying desperately to please the masses.

Divine – “Ghetto Rhymin'” (Supreme Records) – Mixing Five Percent terminology with the influence of Rakim and a proud New York state of mind, Brooklyn’s Divine proved himself to be a true product of his environment on his latest project, taking it back to a time when Rotten Apple wordsmiths were more concerned with capturing the essence of the five boroughs in their music rather than allowing their sound to be shaped by outside forces.

Ghostface Killah – “36 Seasons” (Tommy Boy Entertainment) – Fresh from 2013’s “Twelve Reasons To Die” collabo with Adrian Younge, the Wally Champ dove straight into another concept-based project with “36 Seasons”. Based around a story-line that was part 70s blaxploitation flick, part Marvel comic book territory, Ghost was joined by Brooklyn’s AZ and the legendary K00l G. Rap, weaving action-packed tales of love, drama and betrayal over the classic vintage soul thump of NY band The Revelations.

 

Part Two coming soon.

Album Review – Pharoahe Monch

Pharoahe Monch

“W.A.R.”

(Duck Down Music)

There are rappers. There are emcees. Then there’s an artist like Pharoahe Monch. A virtual demi-god amongst discerning Hip-Hop heads, the lyrical king from Queens has been amazing listeners with his verbal gymnastics for precisely twenty years now, having debuted in 1991 as one-half of Organized Konfusion alongside childhood friend Prince Po.

The pair’s debut single, the upbeat “Fudge Pudge”, was definitely a dope head-nodder that sat well amongst the jazz-infused sounds of the time from the likes of Main Source and Tribe, but it only hinted at the lyrical explosions that were to be heard on Organized’s self-titled debut album released later that same year. Cuts such as the complex “Releasing Hypnotical Gases” and concept-driven “Prisoners Of War” found the pair playing with flows, verse structure and language like poetical mad scientists, mixing the influences of  golden-age heroes such as Big Daddy Kane and Kool G. Rap with their own love of comic books, science-fiction and vocabulary.

Although the duo released three albums as a partnership, it’s 1994’s “Stress (The Extinction Agenda)”, OK’s darker sophomore effort, that most fans consider to be their best, thanks to its almost flawless blend of brilliant wordplay and classic dusty-fingered production. It was also with this album that Organized stans really began to argue over who was the better out of the two, Monch or Po? 

To say that Pharoahe consistently outshone Prince would be unfair, as both were masters of their craft. However, on their 1991 debut the pair had seemed evenly matched, yet on its follow-up Monch did begin to gain more attention, not necessarily because of what he was saying, but how he was saying it. Classic Pharoahe verses on the album’s title track and the legendary Buckwild remix of “Bring It On” found the  former musical student of the late, great Paul C. gleefully playing with the constraints of structured rhymes, stretching out lines for effect, stuttering words, adopting different vocal tones, and generally rubbing the faces of lesser emcees in the enormity of his lyrical might.

All of which meant that by the time Organized Konfusion went their separate ways following 1997’s “The Equinox”, the rap world was hungry for a Monch solo project. A craving that was satisfied by 2000’s Rawkus-released “Internal Affairs”, which of course featured the timeless crowd-pleaser “Simon Says”.

But after such a memorable beginning to his solo career, Pharoahe’s output over the last decade has been sporadic to say the least, with Monch not releasing a follow up to the critically-acclaimed “Internal Affairs” until 2007’s “Desire”. So it’s something of an understatement to say that lyric-lovers have been heavily anticipating this new album from the self-proclaimed “God’s gift to vocabulary” since news broke of Pharoahe’s partnership with independent powerhouse Duck Down. With great power comes great responsbility, as the saying goes.

Straight off the bat, let it be said that “W.A.R.” is a good album. Is it a classic? No. Is it an album that sounds like it should’ve taken four years to complete? Probably not. But does it sound as though Monch has gotten lazy with the pen or lost his creative spark? Definitely not.

Although Pharoahe’s delivery may be a little more subdued and refined than his earlier excursions on wax, that doesn’t mean that his lyrical prowess has become any less impressive. One of Monch’s best performances on the album comes early on the Exile-produced “Evolve”. Over ethereal choir vocals the talented lyrical technician toys with his flow and cadence, delivering playful lines such as “So phenomenal with mics I don’t like myself, Sadomasochist emcee, I bite myself…”, subtly building a complex web of wordplay that hits from every angle with punchlines, metaphors and rhymes within rhymes.

The Marco Polo-produced title track sounds like theme music to a protest march, capturing the essence of Monch’s renegade rap persona perfectly with stomping drums and a searing rock guitar solo from Living Colour’s Vernon Reid. Amidst the chaotic soundbed, Pharoahe covers media manipulation, genetic experiments and New World Order dictatorship, claiming that he’s “guilty as charged if intellect’s a crime”.

The anti-police brutality anthem “Clap (One Day)” finds Australian producer M-Phazes doing his best DJ Premier impersonation, whilst the soulful “Black Hand Side” features a sensitive-yet-streetwise Styles P pouring out heartfelt ghetto angst as Monch ponders the future of today’s younger generation as they attempt to navigate their way through the senseless violence of the inner-city.

The Diamond D-produced “Shine” is another immediate standout, with the D.I.T.C. member supplying a warm backdrop of thumping beats and melodic chimes, as the asthmatic emcee boasts how “each line of speech is designed to transcend time”, with songstress Mela Machinko’s gritty vocals adding an organic dimension to the track.

“The Hitman” is proof of how a skilled lyricist can make familiar subject matter sound fresh, as Monch targets music industry politics and the lack of support for underground rap artists, attacking the obvious without saying the obvious (“If you are not performing fellatio for radio rotation, What’s the ratio for radio play at your station? If you’re not paying to play the record is dead, Puts a whole new spin on Radiohead”).

On the inspirational “Still Standing”, a beautiful blend of soaring strings and horns, Pharoahe ponders how challenges he’s faced both personal and professional have shaped the man and artist he is today.

Whilst fans will have little to complain about when it comes to the quality level of Monch’s rhymes throughout “W.A.R.”, the same cannot be said for some of his beat choices. “Let My People Go” is built around solid but unsurprising production from Fatin “10” Horton, whilst performances from Jean Grae and Royce Da 5’9″ on “Assassins” are hampered by a track that just doesn’t have the impact to match each emcee’s dynamic vocal presence.

“The Grand Illusion (Circa 1973)”, a rock/rap hybrid, also fails, sounding like a cross between an outtake off the last album from The Roots and a hungover Rage Against The Machine.

Yet that said, “W.A.R.” is still a strong effort that will do nothing to damage Monch’s reputation as one of the most advanced microphone masters of his generation. To still even be in the music business two decades after your debut would be considered a success by some, but for Monch to still be considered one of the best in his field twenty years after first unleashing his skills on the world is a testament to both his integrity and artistic individuality.  Let’s just hope it doesn’t take the NYC legend another four years to drop his fourth solo album.

Or would an Organized Konfusion reunion project perhaps be too much to ask for?

Ryan Proctor