![]() ![]() The cookie is used to store the user consent for the cookies in the category "Performance". This cookie is set by GDPR Cookie Consent plugin. The cookie is used to store the user consent for the cookies in the category "Other. The cookies is used to store the user consent for the cookies in the category "Necessary". The cookie is set by GDPR cookie consent to record the user consent for the cookies in the category "Functional". The cookie is used to store the user consent for the cookies in the category "Analytics". These cookies ensure basic functionalities and security features of the website, anonymously. This what happenned on E-40’s album, where he sounds like any other West Coast rapper, it happenned with Too $hort’s album (not ONE Oakland style track), it happenned with Biggie… they gotta stick to their producers and peeps so they can continue to be unique.Necessary cookies are absolutely essential for the website to function properly. This trend of the molding all the Hip-Hop scenes together and destroying the unique regional sounds gotta stop. He drops some serious science on “Faith” (unfortunately, the music is NWA’s “RealN-az” slowed down a bit). Face addresses racism, poverty, and revolution all in a graceful manner. Scarface’s lyrics and delivery are awesome, and he never stumbles on cliches, as his music stumbles consistently. The book deals with the experiences of Eliot Ness, a Federal Agent in the Bureau of Prohibition, as he fights crime in Chicago in the late 1920s and early 1930s. What saves this album from being a “could be a Lil’1/2Dead album” is the fact that Scarface is the man rockin’ the mic. The Scarface Mob aired Apstarring Robert Stack as Eliot Ness and Neville Brand as om an autobiographical novel by Eliot Ness and Oscar Fraley, published in 1957. You get my drift, no need to take it further about the musical influences (hell, he got a track called “Mary Jane” up in there). “Smartz” and “For Real” are the two most distinctive tracks, meaning that they rock some H-Town sound. But the fact remains, that this Face album, musically, could be background for EVERY SINGLE EMCEE nowadays from the West Coast. The other tracks are very predictable, although they are well produced. When Scarface gets Dre to make a track with him, he gets a wack ass Aftermath soundin’ track and by thus he loses his indentity. The reason for this is the collaboration syndrome. All the tracks could be LA Tracks, or Memphis tracks, or whatever, because nowadays everything from the West sounds like Dre, who became unquestionably wack lately, and everything from the East (with the exception of the Queensbridge sound) sounds Wu. The Geto Boys perfected that sound, and with his new album, it’s almost ignored. As a leader of the Geto Boys, Scarface pioneered the H- Town sound, a slow and heavy funky style, which was very unique. Now it’s gone, and what other album than Scarface’s new one is a better example. ![]() A true Hip-Hopper could indentify where an emcee was from just by listening to the music style… For instance, until early ’94, it couldn’t be better- there was a Bay Area sound, which was also divided to a lot of sub-sounds, like the Too $hort sound, Dope Fiend sound, Vallejo Mobb… there was the LBC scene, the Compton scene, the Houston scene, the Boogie Down scene, the Brooklyn scene, the Atlanta scene… and on and on. What makes (or made) Hip-Hop so captivating, is the fact that there are (or were) many scenes, each scene sportin’ a different sound and vibe. And why not? It’s peace, it’s unity, it’s combination of talent… BZZZZ, WRONG!!! Dre with Scarface, is a good thing to Hip-Hop. Dre with Nas, E-40 with Kurupt, RZA with Biggie, or the latest, Dr. A lot of peeps nowadays think that the incredible attack of collaborations in Hip-Hop- Dr. ![]()
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