T.Q.D: T.Q.D's Corner

Greetings and welcome to the latest installment of T.Q.D's Corner.  This is part 1 of two-part segment called 'What were people thinking?".  The first part will deal with Hip Hop albums, specifically one by legendary artists, that in my opinion much better then they're given credit for.  Part 2 will deal with albums by legends, that in my opinion aren't all their cracked up to be.  In any case, let us begin part one.

1. Public Enemy - Muse Sick N Hour Mess Age

I always thought it was strange that the masses decided they were tired of Public Enemy, when they at the same time happily embraced a then, new Rage Against The Machine.

Many album in the Public Enemy catalog could make this list.  There seems to be an opinion among a segment of the Hip Hop community that thinks the Public Enemy catalog is crazy up until Apocalypse '91 and that anything afterward is nothing special.  Well, whatever those people are smoking: I don't want it. 

Muse Sick is thought of by a lot as the moment Public Enemy fell off.  Commercially, that is correct.  This album went good, but 16 years after this albums release, Public Enemy hasn't scored a RIAA plaque since.  Creatively speaking though, I strongly disagree with the notion that they'd fallen off.  In fact, I this is one of the best Public Enemy records and is WAY better than one of their earlier albums...but we'll talk about that in part 2.

In some respects, it's easy to understand why this received a lukewarm response.  First off, fans get tired of everyone eventually.  Secondly, in 1994 gangster rap was fresh, hip new and exciting, making politically oriented records the exception, rather than the rule.  Third and perhaps the least talked about reason was that this album simply sounded different than any Public Enemy at that point (production-wise that is).  Gone were the days of free-for-all sampling without litigation, so the sample collages of of their previous albums couldn't happen without deep pockets.  There was still sampling, but the beats incorporated a lot of live instrumentation, which threw a lot of people off...but for some of us, that was a welcome change of pace.

Lyrically, Chuck D (full disclosure, I think he's the GOAT) sounded as sharp as ever.  Not to mention, he had balls.  Songs like "Give It Up" and "So Whatcha Gonna Do Now" criticized gangster rap for that fact that it quickly became and would become an even bigger caricature (well, was he wrong?), a message not well received by fans and press who preferred to go with what was hot at the time.

Songs like "Live & Undrugged" and "What Side You On" have also stuck with me over the years.  Besides the contact, the live instrumentation and lyrical flow is crazy.  The only duds (like ever PE record) are when Flavor Flav gets on the mic for a couple solo cuts.  Oh well, if I had a guy who played 12 instruments and could help make beats: let him him a couple moments.

2. Cypress Hill - III: Temples Of Boom

The self-titled debut was their most groundbreaking.  The follow up Black Sunday was their highest selling.  However, I've always been a firm believer that the third Cypress Hill album is their best and it's not even close.  DJ Muggs pretty much stuck to his strengths on the beats (dark), but I believe the formula was perfect on this record.

Lyrically, B-Real and Sen Dog have never been overly profound content wise, but they, especially B-Real who got most of the mic time: went a little deeper then usual.  Sure there were the usual weed songs ("Spark Another Owl") and the generic street content (most of the album), but is was presented in a way we hasn't heard yet: chilled out.  Not to mention, B-Real had some deep tunes (notably "Illusions") and dissed Ice Cube ("No Rest For The Wicked") in what I have previously argued is one of the best dis tracks we've ever had. in Hip Hop.

This album still went platinum, but critics and fans, as evidenced by their later sales, weren't as in to Cypress Hill as they used to be.  I'm not sure why.  To me their first album, while dope, has plenty of rookie mistakes and their second album is also dope, but doesn't quite bring it all home like they do an Temples Of Boom. 

3. Kool G Rap - 4,5,6 and Roots Of Evil

For reasons that puzzle me, Kool G Rap has never scored so much as even a single gold plaque.  This is further proof that sales are good for the wallet, but certainly don't indicate skill, because it's not even up for debate that Kool G Rap is one of the best to ever pick up a mic.  Many of people's favorite rappers agree, otherwise they would still be using many of his rhyme techniques many years after the fact.

In any case, save for Slick Rick it doesn't really get much better than G Rap when it comes to story telling.  These albums simply add to his legacy.  Many believe once he parted ways with DJ Polo, Kool G Rap just wasn't the same guy.  I'll agree that he later showed signs of ware and tear (see: Giacana Story), but I will confidently argue that 4,5,6 and Roots Of Evil are by far the best Kool G Rap albums.  He may have better songs elsewhere, but I'm talking about albums.  His rhyme patterns were as sharp as ever on 4,5,6 and Roots Of Evil has a crazy storyline that plays out every bit as entertaining as a novel.  The average gangster rapper wishes he could make records like Kool G Rap.  I could certainly pin point special songs, but these albums are just that: albums.  

4. Slick Rick - Behind Bars

Slick Rick is absolutely one of the all-time greats, but it's still hard not to wonder what could have been.  In 1990, he went to jail for reasons you can read about elsewhere.  He was released in 1996.  As the story supposedly goes, Slick Rick scored a one week work release.  During this week before returning to jail he wrote and recorded what became the album Behind Bars.

At the time, this album received lukewarm reviews and sales for reasons I'm not aware of.  Whoever didn't like this record must have heard something different from what I did.  This album is vintage Slick Rick lyricism and was a definite step up from The Ruler's Back in the beats department.  Lyrically, I'd argue it's as good as anything he's done.  At 11 songs (9 new ones, 2 remixes), it's an easy listen.  The title track and "All Alone" are the songs that stuck out to me.  There's even a remix of the title track produced by and featuring Warren G, which was pleasantly surprising.

The only frustrating thing about Behind Bars is that it was put together in such a hurry.  The Ruler's Back was actually put together under similar circumstances.  If Slick Rick could create an album this dope in one week: who knows what he could have made had he actually been free and able to take his time. 

5. MC Lyte - Act Like You Know

I'm of the opinion that Eyes On This is the crown jewel of the MC Lyte catalog, which I don't think too many Hip Hop heads would disagree with.  However, I seem to disagree with many when I declare her third album Act Like You Know as second best.  

This album is a classic example of an artist changing up there sound with half of their fans welcoming a shift (me included) and the other half wishing they remake the previous record.  Some artists can remake the same records and sound fresh, while other need to change up to stay fresh.  Lyrically, the album is about what one would expect from MC Lyte in 1991.  The problem many had with this record were the beats.  It is semi-understandable, given that her raw beats from previous records were ditched (somewhat) for a still uptempo, but more softer and melodic sound.

The beats definitely weren't the best beats MC Lyte has ever rapped over, but she rapped over beats that fit well.  I'd argue that sometimes it's not about how good the beats are, but how well the complement the words being said.  In that respect, Act Like You Know is a big success.

...and that concludes the first installment of "What were people thinking?" when I talk about 5 albums by Hip Hop legends that are, in my opinion, overrated.  Until then, take care.