Album Review – O.C.

O.C.

“O-Zone Originals”

(No Sleep Recordings)

To most Hip-Hop heads the year 1994 will, of course, forever be remembered mainly for the debut albums of Queensbridge’s Nas and BedStuy’s Biggie Smalls. Two incredible doses of New York rap that helped snatch the crown of Hip-Hop dominance back from the gang-related G-Funk of the West Coast. But another Rotten Apple emcee also dropped a notable debut in ’94 (ironically under the same MC Serch / Serchlite umbrella as Nas), a project that may have received less fanfare than the aforementioned instant classics, but one that was no less impressive in its poetic precision and sample-laden boom-bap production. O.C.’s Wild Pitch-released “Word…Life” fully introduced the D.I.T.C. member’s brand of intricate wordplay that balanced streetwise reflection with no-nonsense Brooklyn bravado. Mr. Credle’s guest spot a few years earlier on Organized Konfusion’s 1991 single “Fudge Pudge” had barely hinted at the lyrical prowess he would display throughout the largely Buckwild-produced project, from the relentless attack on wack emcees that was the incredible “Time’s Up” to the soul-searching “Born 2 Live”.

Previously released as two vinyl EPs, “O-Zone Originals” is the latest in the No Sleep label’s “For Those That Slept” series which dusts off gems from Hip-Hop’s golden-age for the more discerning listener. Mainly featuring demos and unreleased tracks from 1993 / 1994, this compilation also contains a handful of tracks recorded throughout 1996, a year prior to the release of O.C.’s brilliant sophomore set “Jewelz”.

The neck-snapping “Outsiders” opens the album, with O.C. calling out “snakes and connivers” who slept on his D.I.T.C. crew prior to their success over typically dope Buckwild production packed with rattling drums and echoing horns. The upbeat “Kick A Rhyme For The Record” has a spontaneous feel as the BK emcee drops confident boasts over an organ-driven soul-clap groove, whilst the liquid bassline and dusty drums of the satisfying Mark Pearson / John McGann-produced “Brothers Are Fake” are so close to the Diggin’ In The Crates sonic blueprint that it’s something of a shock to check the credits for the first time and not see the name Buckwild or Lord Finesse next to the song’s title. The DJ Eclipse-produced “Bad Motherf**ker” , however, could have easily stayed in the vaults as its bland soundscape adds little to the project and doesn’t really fit O.C.’s battle-ready rhymes.

Cuts such as the Ogee-laced “Flipside” and Buckwild-helmed “Master Ya High” (both recorded in 1996) hint at the cleaner sound that would be heard on a few tracks from “Jewelz” as O.C. drops his verses over crisp, melodic, potentially radio-friendly samples, a bid perhaps to compete with the glossier Bad Boy Records formula of the time. The original Ogee version of “Stronjay” is also included here, although it pales in comparison to the more atmospheric Beatminerz reworking that made the final tracklist of “Jewelz”.

The inclusion of short radio promos recorded for Stretch & Bobbito, Kevvy Kev and Sway & Tech is a nice touch, taking the listener back to a time before Twitter links and YouTube hits when being heard on key underground Hip-Hop radio shows could make or break an emcee’s career.

Omar Credle’s contributions to 90s Hip-Hop could never be questioned by any self-respecting rap fan and this compilation offers further proof that the D.I.T.C. wordsmith was one of the most gifted and compelling emcees of his generation.

Ryan Proctor