Category: Dr Dre

Why Ice Cube being back in N.W.A. is equal parts dope and awkward

ELMO AND CUBE
The recent BET Awards saw N.W.A. reunite on stage for the first time in years, as part of the promotional grind for new film Straight Outta Compton.

Dr Dre was absent, and with Eazy-E long since passed, and Yella never having been the most charismatic of performers, it was a cut-price N.W.A, left to just Ice Cube and MC Ren to carry the entire legacy. From the videos that emerged online, it was largely disappointing, but not a bad effort considering what they had to work with.

What stands out most is how weird it is to see Ice Cube performing those old gangsta tracks in 2015.

Like LL Cool J, Cube is now so far removed from who he was in the N.W.A. days, and that’s not a bad thing. He’s now a family man making family films. Shit, he even hangs out with Elmo. Switching from that back to the man who rapped so aggressively and explicitly on classics like Fuck Tha Police, Straight Outta Compton and Gangsta Gangsta, is a giant leap.

That’s not to say that the likes of Cube and LL should hide from who they once were. These are two of the greatest hip-hop artists of all time (LL arguably the greatest, at least in terms of longevity), and for hip-hop fans they will always be emcees first, actors second.

But perhaps spare a thought for little Elmo when he watches the BET awards and sees his buddy kicking rhymes about AK-47s and bitches in biker shorts. No one wants the kids putting on Sesame Street and finding that the word of the day is Gangbang.

As for the no-show from Dre? Too busy counting them billions. Its a shame though, because that really could have been something special. We should probably just be glad they avoided bringing Eazy back with one of those tacky hologram joints.

Straight Outta Compton hits cinemas August.

Slept-on albums in retrospect: Raekwon’s – ‘Immobilarity’

RAEKWONOnly Built 4 Cuban Linx was always going to be difficult to top, even for one of the best artists amongst the nine men that made up the Wu-Tang Clan. By 1999, the world had already been blessed not just with Raekwon’s classic debut some four years previously, but also superior albums from Ghostface Killah, GZA, Old Dirty Bastard, Method Man and Cappadonna. The pressure on Rae to turn-in something as good as his debut must have been thick, even if no one dared to mention it.

When Immobilarity did drop, it was given something of a lukewarm reception from fans and critics alike. Listen again in 2015 however, and its actually a pretty good album, and arguably better than the genuinely disappointing proper sequel to the classic debut, 2009’s Only Built 4 Cuban Linx II.

What seemed to bug people most at the time was how little this seemed like the other Wu-Tang solo albums so far. There are no guest spots from Ghostface, and in fact Method Man and Masta Killa are the only two official clansmen to appear. And perhaps most noticeably of all, there are no beats by RZA.

Looking back, this was actually a good thing. A lack of guests gave Rae the space needed to focus, and write with enough confidence and weight to carry entire tracks on his own, the way that Ghost has always been able to.

Moving from RZA production also added some variety, away from the occasionally stale beats that he was sometimes guilty of making, even if the little-known producers on the album were usually just trying to ape his style. Its no coincidence that the nicest beat is the Pete Rock produced Sneakers, hinting for the first time just how good Rae sounded over beats from skilled beatmakers outside of RZA. By Only Built 4 Cuban Linx II, the line-up of producers had become diverse enough to include everyone from Dr Dre to J Dilla, via Erick Sermon, Alchemist, Marley Marl and more.

Other standout tracks include Friday, My Favorite Dred and Live From NY, each of them filled with the same vivid imagery that helped maintain Rae’s reputation as one of the best storytellers in the game.

If you slept on this album in 2009, dust it off and have another listen. You’ll be surprised at how good it sounds.