Lou Boogie – Lou Boogie EP EP review
The Lou Boogie – Lou Boogie EP is a Latin music influenced electronic house music EP with upbeat salsa sounds. The sounds of NYC house (New York City house) are prevalent on this EP given this EP was released by an NYC label. Highlights of this EP are Los Mysterios and In The Mix. This is a limited edition EP that was pressed up in a limited quantities.
Los Mysterios is an upbeat Latin music influenced electronic house music song with Merengue dance beats and salsa beats. The Merengue dance beats follow the Merengue rhythm and follow a time signature of 4|4. The sounds of dance and Latin meet electronic house on Los Mysterios as the song uses Spanish lyrics and chants over several dance beats which are electronically processed. The sounds on this song would automatically make you think this song was a Brazilian song from an artist in Brazil. Los Mysterios means “the mysterious” in Spanish.
In The Mix is a funky Latin electronic house music influenced song with fast paced house beats mixed with Latin beats.
Ooh Yeah is an intense house song with a presence of heavy dance beats which are electronically processed. The “yeah yeah yeah yeah yeah” vocal sample used as a chorus is what makes this house song very intense along with electronically processed dance beats. All vocal samples used in Ooh Yeah are very deep, orgasmic, and climatic.
Here It Goes is just an intense of a house song as Ooh Yeah as the song follows nearly the same tempo in terms of speed and pace. However the vocal sample used on Here It Goes gets annoying quickly.
5/5*****!!
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Furious George – Feel Alright single review
Furious George – Feel Alright is one the lesser known Furious George releases which did not receive a lot of attention at the time it was released. The single uses some excellent New York City style house production from Furious George himself. Now many of these songs are cover songs.
Feel Alright is Furious George’s house cover of Sylvester - Over & Over. He sampled some of the instrumentation from the original song.
A Movin' Affair uses some excellent New York City style house production from Furious George himself. The song uses a barrages of bongos over dance beats and a groovin’ bass line backed with a horns selection. The song incorporates the genres of funk, dance, Latin, and electronic.
Henry St. Hustle is a cover of the 1975 song Fatback Band - Spanish Hustle. The song represented and showcases what the top notch house label Henry Street Music label was producing during the mid-1990s. This song still holds up even after all these years.
5/5*****!!
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Furious George – The Adventures Of "Furious" George single review
Furious George took us on a journey through sound and New York City house music on his debut release (which was his debut single) called Furious George – The Adventures Of "Furious" George back in 1995. The single uses some excellent New York City style house production from Furious George himself. Notice how many dance beats are used in his songs. Another excellent release from the top notch house label Henry Street Music.
Goo Goo's Way is backed by some toms, echoing bongos, a sample of a rock song, and slight distortion. Rock meets electronic house music on Goo Goo's Way.
Music's Here To Stay uses a tribal house sound over dance beats. Those electronic synths are warped through usage of a filter of some sort which make those electronic synths sound muffled a bit undoubtedly. A hodgepodge of vocal samples are thrown around throughout this song. Those snares are perfectly mastered. You can feel the music.
The woodwind selection on Give It Up is just beautiful. A hodgepodge of vocals samples are used throughout this Furious George song.
4/5****!
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Mateo & Matos – The Final Cut E.P. EP review
The Mateo & Matos – The Final Cut E.P. is some extravagant underground house music from the NYC-based production duo Mateo & Matos. There are some serious jams on this EP of theirs. This is some timeless house right here. Next Level and Feel So Good are the highlights of this Mateo & Matos EP and Mateo & Matos release.
Mateo & Matos did some outstanding work on the synths on Next Level by make them sound futuristic and angelic at the same time with the double echo. The notes and chords are on point. Next Level is one of their serious jams. This is some timeless house right here.
The song Everybody's is a freaking awesome house song with a dance vibe. The song is also perfect for the lounge. The violins fit in appropriately with those synths. Underground house music can’t get any better than this. However the vocal sample gets annoying quickly.
You definitely feel the groove on Feel So Good due to the way the synths are played on the keyboard and due to the beats as well. Feel So Good samples Deodato - Keep It In The Family. This is one of those timeless tunes and songs.
The song Raw Basics was recorded back when Mateo & Matos was known as Raw Elements. Raw Basics is a deep house instrumental with a nice piano and soft lush but posh beats. However their beats are not as thick given that deep house had hardly progressed passed the underground in 1991. This was also due to the technology that was available at the time.
4/5****!
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Lil Tone - In Da Cut album review
Lil Tone - In Da Cut is a Southern rap sounding Midwest rap/Northern rap album from Detroit, Michigan. His album uses a mixture of both Southern rap and East Coast rap. Although Lil Tone - In Da Cut is a bit East Coast sounding and influenced, the album primarily leans toward using that Southern rap sound. Southern rap and East Coast rap both meet the sounds of soul, pop, and funk on Lil Tone - In Da Cut as songs on the album use a combination of soul, pop, and funk. Songs on his album uses elements from those genre of music. Take In Da Cut and Mama Use To Say for example.
Now the production on this album is sounds quite dated for an album released in 2006. One would assume this album was from the earlier part of the 21st century but that is not the case with this album.
The explosive opener and intro explains how Lil Tone will be grinding and shining as a rapper. He wants to be a rapper. The intro uses that Southern rap sound with crunk beats, bells, loud yelling, and obnoxious loud chanting.
Lil Tone explains how his teachers and adults think he is hopeless because he likes to smoke and drink on Smoke Big. The song uses a modern Southern rap sound. Yes that modern Southern rap sound. This song is not East Coast sounding at all.
Most of his teachers and preachers say he is hopeless because he likes to smoke big and drink. Lil Tone tells his audience they don’t have to listen to him. They know right from wrong. You know right from wrong.
Lil Tone tried to attend church but the preacher told him he was nothing but a devil and wouldn’t work. So relapsed to smoking and drinking. Lil Tone asks God for forgiveness. His teacher said he was nothing but a thug who is a gang member. His teacher thinks Lil Tone sells drugs because he has gold jewelry and gold dubs. Lil Tone knows right from wrong. However he wound up in the penitentiary unfortunately. You either ball or fall. This world is raw.
In Da Cut was the official club banger for New York City and Detroit back in 2006. At least in the underground. This is one of those club songs. In Da Cut uses a mixture of both Southern rap and East Coast rap over combination of soul and funk. The sample used is The Brothers Johnson - Strawberry Letter 23. In Da Cut stands out due to the heavy reliance on The Brothers Johnson - Strawberry Letter 23 sample.
Lil Tone is up in da cut tonight which is the club. He’s cool with security. Don’t get rough with him or he’ll call your bluff. Hennessy is in his cup. There are many broads and plenty of liquor. The iron is going to bust as it often gets rowdy up in the club. Innocent people get shot and die.
The second verse (Verse 2) is the ladies and men who like to zooted, tooted, booted, and ooted up in the club. People do get ooted up in the club. This is for the club where the ladies toot it up. Don’t throw it up but get buck instead. Keep it cool because sometimes people can really act a fool.
Groove Master is on the 1’s and 2’s (turntables) bringing it to you. Groove Master is bringing the music you want to hear and dance to. Lil Tone is waiting on feedback.
Vivian Coreton laces Intro Mama Use To Say with some wonderful singing of hers. She brings out that soul flava with that pop flair.
Lil Tone puts in his own spin and twist on his cover of Junior - Mama Used To Say. The lyrics are slightly changed as they have been altered. The song has that soul flava with a dash of pop flair. Vivian Coreton laces the song with some wonderful singing of hers.
People think you have an exuberant amount of money when you driven an Escalade. They want to hate on you because of your wealth. Lil Tone warns us to watch out for these snakes (shady people). He keeps his faith in God like Bishop T. D. Jakes. It has all been on Lil Tone since he was 13. It’s the same old song around the world. Mama used to say, “Take your time, young man. Don't you rush to get old. Take it in your stride. Live your life.”
Many never thought Lil Tone would be a rapper. People clapping as Lil Tone performs on stage. His mother tells him he will make it as a rapper one day. Every time drama come his way he flips. He forgets what his mother said to him. He turns a crumb into a brick. He hopes to sign a big record deal. Uncle Joe of MDM (Mad Deep & Mental) gave Lil Tone helpful information about the music business.
Lil Tone proves that he has nothing to lose and everything to gain on the song Nothing To Lose. He came hard and raw with his versatile lyrics that are all in your face in an uncouth manner. The beats overpower and overlap the vocals make it difficult for the listener(s) to decipher what Lil Tone is saying. Specifically during the chorus. That is the downside to/with Nothing To Lose.
Lil Tone has nothing to lose and everything to gain. He is loving this game. Lil Tone is a block mover as he makes moves with his own business in his own way and right. He makes big deals within the city of Detroit. Not many people know this but Lil Tone has been in the music business since 1995. That is what the lyrics “I’ve been doing this since 1995” are a reference to.
Wait Till They Get A Load Of Me is one of those cocky braggadocious songs. Wait Till They Get A Load Of Me uses vocal samples in the 1989 Batman movie. Specifically from the Joker scene in the 1989 Batman movie. Lil Tone plays the role of a bad guy inspired by the Joker character from he 1989 Batman movie in Wait Till They Get A Load Of Me.
Lil Tone is ready to fight when he hits the scene. He might pull out a gun and take your life. Cutting you is something he definitely do. You can catch him grinding bright and early in the early morning when it is still light outside. He is not afraid of any regardless of their size. He is on a paper chase in a Chevrolet wearing a mask on his face. Lil Tone is the bad guy.
He carries big guns. So lock your doors. He will hit your spot. You’ll get served like a quarter ounce (quarter oz) of steak. Lil Tone is a bad motherfucker that is quick to spray.
Lil Tone lets us know what the deal is with the song What The Dilly O. Lil Tone is the skinny nigga with an afro. You know who he’s with as soon as he steps through the door. He went from slanging crack packs (packages of cocaine) to rocking shows as a rapper. He is constantly recording tracks in the lab (recording studio). Straight up with no chase.
4/5****!
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DJ Sneak – Sneaky Traxx single review
DJ Sneak – Sneaky Traxx is one of the lesser known releases from DJ Sneak which not too many people know about. Sneaky Traxx was inspired by the sub-genre called ghetto house. The beats bang hard at a fast pace on Work It. Work It was influenced by Steve Poindexter - Work That MF and Steve Poindexter - Computer Madness. The Steve Poindexter - Computer Madness sample kicks in at 2:33. He was influenced by that hood house style sound. Muted Jazz is backed by a slightly distorted looped harmonica sample over kick drum beats. The sampled part has a deep bass line.
4/5****!
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Young Blayze - Young Blaze album review
The Young Blayze - Young Blaze album was one of those No Limit albums that was supposed to be released during the New No Limit era and Universal era in 2002 but was never released due to the rising popularity and on 504 Boyz and Lil Romeo. No Limit’s focus on 504 Boyz and Lil Romeo is why this album was never released. There were songs recorded for the album. The Young Blayze - Young Blaze album was constantly advertised in No Limit album from 2002 to 2004. His album has that Southern rap sound with production from Kenoe and C-Los.
Young Blayze is eliminating rivals with his versatile lyrics on Lights Out. The song is backed by shakers and beats from Kenoe. Big money be that big in the Dirty South. Guns are strong like Teflon. Running with guns out with no hesitation. Eliminating rivals. Lights out. Young Blayze rides dirty like a tiger hunting down a birdie. Bringing something raw. He sends out bullets like FedEx. It’s just that hot down south. Young Blayze is highly anticipated. The anticipation for him is from his flows in his raps. Young Blaze is still in the mix in the bricks. He’s got Seawoodson's on the truck grinning and spinning. Yes, sir.
Young Blayze’s rap style is begnin as cancerous and effective emphatically on Whatz Up. He gives us spiritual and lyrical guidance with his lyrics on Whatz Up. His rhymes are so exciting to the point of inciting riots. His lyrics are just as versatile as they were on Lights Out. Young Blayze’s rap style is begnin as cancerous and effective emphatically when he comes through. He blows spots and burns booth. He simultaneously brings heat which is delivered raw. You don’t want to get caught in a competition with his mighty lyricism. That is just another way for him to rhyme. His stories are so exciting to the point of inciting riots. So try his lyrical and spiritual guidance. Make room for his spiritual offering. Make room for the spirit. It’s so real.
3/5***
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O.C.C. – Diary Of A Killer Cop album review
O.C.C. – Diary Of A Killer Cop is not your ordinary obscure rap album. O.C.C. – Diary Of A Killer Cop was the most controversial Detroit rap album in 1994 given the fact that O.C.C. had members who were police officers for Detroit Police Department. O.C.C. was and stood for Out Cold Cops. There were former and current police officers. O.C.C was comprised of 10 Detroit police officers who hid their identities in order to protect their careers. They claim they were rapping in the name of the law, but they were hiding their faces behind ski masks and bandanas. Rafael Turner was one of the members who was a police officer. So was Greg C. Brown. Rafael Turner was credited as being the creator of O.C.C.
The lyrics are rough and laced with profanity, racial epithets, brutality, and violent threats. Even their producer, Jerry Flynn, was masked and had used an alias. Interestingly enough all members of O.C.C. were black. These Detroit police officers were calling for unlimited head-busting to clean up the streets. That’s what made this album so controversial during that time. A gangsta rap album from the other side of the law. This album is dedicated to all the cops who don't give a fuck about a jury and who ain't afraid to kick some ass.
Jerry Flynn produced the O.C.C. – Diary Of A Killer Cop album at Def Sounds Studio. The birthplace of Detroit hip hop. Jerry Flynn was the producer of this group's album. The album had solid production and consistent rapping. I’m sure this album brings back plenty of memories. There were great memories recording this album and the times in the 90’s.
O.C.C. was formed and had started in 1991 in response to rap musicians whose lyrics express hostility toward police. O.C.C. was and stood for Out Cold Cops. 6 of the members were current officers of the Detroit Police Department. 4 of the members were former officers of the Detroit Police Department. This is ironic since hip hop.rap is an anti-authority genre. These cops were no better than the criminals they spent their time arresting and were proud of it.
O.C.C. made headlines in the Detroit Free Press newspaper in both 1993 and 1994 as the police officers caught heat for their questionable music practices. These were real cops. So they had to cover and censor their faces so people would not know their identity or be able to identify them as police officers. These police officers boasting in being corrupt law enforcement is what got them in trouble with law enforcement agencies. Chief Stanley Knox reportedly had called for an internal investigation to determine if the performers of O.C.C. were indeed officers for Detroit Police Department after receiving a copy of the album. Two of the police officers were suspended on charges of brutality.
Some of you might remember this and some you may not. O.C.C. even had an episode on Jerry Springer solely focusing on them due to their surrounding controversy. O.C.C. appeared on Jerry Springer on December 20, 1993.
There are pressings of the album with without the censored cop. Those pressings are extremely difficult to find. Many people known about the standard version with the censored cop. This helped the group fade away into a state of forgotten obscurity.
Lost Emotions is one of the most brutal, fowl, and most racist rap songs in the history of hip hop/rap music. This because Lost Emotions has some of the most racist lyrics about killing black people in a rap song. Now that’s sad. One can see where the controversies lie within this O.C.C. song. You can hear typical Detroit old school stuff: funky, scratchy, not overly melodic.
“Used to duck and dodge back in the days when I heard gunshots/but now I pull my gun to make sure I'm not the one shot/All on my own, it's me my gat and this crack shit I'm killing off blacks quick I know that's some sad shit”
Off to Jail explain how these police officers are proud of being corrupt in law enforcement while serving as police officers. An Oceanside, California newspaper printed an excerpt of lyrics to this song in a news article for their newspaper on the date of Thursday, December 16, 1993.
These lyrics here serve as an example of police officers boasting in being corrupt in law enforcement.: “Now it’s me and my partner, two crooked cops/We got the 'gauges cocked and we're strollin your block/I pull your ass over/Eagle spread/One false move and yo ass is dead/Got a Beretta to serve and protect/As soon as I got out I started breakin' niggas necks”
Ain’t shit up was the first O.C.C. song ever produced. Jerry Flynn of Def Sounds Studio produced the song in 1993. The song featured another local rap group which Jerry Flynn produced for called P-19 just 3 years prior.
5/5*****!
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