Return to Sender

So, after a almost year and a couple days hiatus, I have decided to bring back them savory reviews. What could possibly bring the hype machine back from extinction might you be asking; Mark Ronson's new album "Version." Dude puts in Tim the Toolman like work on this cover song driven roller coaster. Collaborations with Amy Winehouse, Lily Allen, Kenna, and the underrated Daptone Horns Section give the album its character and balls. However its the unexpected cover of Britney Spear's summer jam "Toxic" that made me googley eyed. Stew up a horn section, smooth drums and the vocals of Ol' Dirty Bastard and you have a monster. The energy doesn't stop there. Each track is layered with raw melodies and especially emphasized are his drums of gold. How do you do it Mark? It's almost like the soul and rhythm of the 60's and 70's are reborn through his music. Daniel Merriweather gives "Stop Me" a new vibe and definitely redefines it's original greatness. I still recall waking up to Donald Duck cartoons with the original by the Supremes blaring out during some scenes. Timeless records are becoming more and more hard to find in an age of the daily download and update. "Version" gives a revival to the hope that new shit is about to break new grounds after such a long hibernation.

- coincidenceuno

(buy my album people, Oatmeal With Rhymes, www.myspace.com/coincidenceuno)

The next Wes Anderson pelicula needs J-ZONE.

The master of witty anecdotes and compositions returns but with a project that stands out against his previous four LP's. J-Zone embodies everything going through the mind of a regular dude on the verge of becoming half Frank the Tank from Old School, half Christian Slater from True Romance". "To Love a Hooker" is an imaginative ride. Be ready for fucking, snuggling, smuggling, smashing and crashing. Track by track, Zone reveals the ins and outs of what being an entrepreneur in the field of desperation ultimately evolves into. The mood is both hilarious and fluid at the same time, a rarity in terms of instrumental records now-a-days. Sadat X makes a few guest spots just to add that raw appeal to an already rugged beatscape. There's no doubt this soundtrack could easily be utilized as a tutorial for those interested in the ways of pimp. Trust me, after you listen to the album, you'll clearly see the picture. Old Maid needs to make a DVD quick and J-Zone needs to score Adult Swim or Nick Short Break.



http://www.myspace.com/jzoneoldmaid

I'm Back Like Nene. Mighty Healthy with Bronze.

Bronze Nazareth's The Great Migration rings old bells of glory. Loud at times and even louder others. It's been awhile since Killarmy and the Gravediggaz were standing as proud sprouts of the original swagger generals. Since then nothing and nobody from the Wu has really taken the initiative to build past what history's already seen done. Bronze has. Production credits on the Wu Tang Think Differently "Wu Tang Meets Indie" project signaled something new, bold and raw. From bottom to top the beats are never less than knocking. I'm talking about "in the heat of the moment" bed rocking, knocking. Although the content of the Wu, especially now a days remains hit or miss for many, Bronze keeps it remotely close to hitting. Guest spots from Wu affiliates Timbo King, Killa Sin (!!!) 12 O'Clock and Prodigal Sunn keep the LP tightly woven in styling. All around this is a solid pickup if you see it sitting in Amoeba's used lots. Migration has begun I can happily conclude that the Wu is still reinventing the gritty.

Beat: "Here What I Say"
Verbal: "Black Royalty"

Coincidence SANsei

Good Ole' Ghosty Does It Again...

The man with a thousand aliases and alter-egos has conducted a masterpiece yet again.

Fishscale only solidifies Ghosty's title as the greatest in storytelling this side of the sun. His wordplay and humor are witty as ever and definitely match up with the top notch production. Faces of consistency are all over as J-Dilla (RIP), Pete Rock, MF Doom and the Wu Camp help Ghost sling to his supreme clientele. A Ne-Yo song is the only nod against the album's greatness in it's entirety, but the dude is on Def Jam, he gots to sell SOME records. Even on that track Face is still Tony Starks, raw and on edge, complaining about a dime piece who just got on the wrong side of the robe rocking wallaby king. I admit, I had my doubts about Big Jay signing up Mr. former Ghostface Killah, but I feel stupid for the impulse of second guessing him. His reign is complete and I can only await what lies next for the dude who admits to fucking his fans.