#TBT: Breaking Atoms (25th Anniversary) - Main Source (@PLargePro); A Niles P. Joint

Back in the olden days, figure my late middle school/early high school years, one of my favorite things to do was to go to music stores (remember those?) and rummage through the used CDs looking for out of print classics.  On my “Holy Grail” wish list was Main Source’s 1991 classic debut Breaking Atoms.  At the time I only knew that it was rare/out of print after Wild Pitch Records folded in 1997 and that it contained the first appearance of one of my favorite rappers (more on that later.)  Unfortunately I never found the CD because of its inherent value. But once I got it digitally years later I understood the magnitude of the impact that Large Professor, K-Cut, & Sir Scratch left on the culture of Hip Hop with this album.  

Besides making beats, Extra P kind of made a career out of dispensing wisdom in his lyrics.  He starts early and often on Snake Eyes, comparing serpentine movements to the perils of a dice game.  Things are more laid back on the self explanatory Just Hangin’ Out.  The song is not only easygoing but also has one of the earliest samples of the Jamaican classic Bam Bam by Sister Nancy.  Looking Out The Front Door is one of their best known tracks and one of the best of that era, period.  In a time when Canadian former child stars constantly whine in breakup songs, this one is more resilient.  On his eponymous song, Large Professor uses what’s probably his quickest flow to much success.

Just a Friendly Game of Baseball is 25 years old and unfortunately still socially relevant today.  Using baseball metaphors, it presents the case that police brutality against Black men and women is more so America’s pastime.  I wish this wasn’t still the case, but you've seen the news so therefore this song still has relevance today.  After such weighty subject matter, Scratch & Kut is a welcome instrumental palette cleanser.  While Peace Is Not The Word To Play has urgency as a linguistic lesson, it doesn't tread too far into preachy waters and remains listenable.  A hidden gem on the album is Vamos a Rapiar (let’s rap in Spanish) is actually co-produced by Pete Rock.  The Queens/Mount Vernon collision yields fireworks and gives the album a Latin twist, which heightens the already flavorful musical medley.  It’s like audio adobo, studio sazón.  

Essentially Live At The Barbecue

The breakbeat is exploited to perfection on He Got So Much Soul (He Don’t Need No Music.)  This is more or less the 1991 version of having a club hit on an album, although this one seems to be more built for breakdancing.  The crown jewel on the album is easily Live At The Barbecue.  While Extra P, Akinyele, & Joe Fatal chip in with respectable verses, the show is stolen by a 17 year old Nas making his aforementioned debut on wax.  It’s like when your favorite comic book series introduces a brand new dope ass superhero within their own run, and he goes on to have a legendary career.  This is what had me scrambling to find the album as a preteen.  While hard to top, Breaking Atoms has the rags to riches inspirational story Watch Roger Do His Thing as the penultimate track and closes with a worthwhile remix of Just a Friendly Game of Baseball.

Aside from the premier of Nas, this album is a way station between the golden eras of the late 80’s and mid-90’s.  It helped bring jazz and soul samples into the culture’s consciousness, a practice still used today by traditionalists.  More obscurely, Main Source was also one of the earliest forays into the North, as K-Cut and Sir Scratch were two of Canada’s first mainstream rap contributors.  The rest is history.  Large Professor used this as a springboard to a successful solo career in both rap and especially production, including helping Nas with Illmatic.  The original lineup unfortunately disbanded due to financial disputes, although K-Cut and Sir Scratch did return later with a new vocalist for an album.  Even though their stay was comet in the night sky-brief, the magnitude of Main Source’s classic album is still strong enough for Breaking Atoms 25 years later.  

Review: Piatto D'Oro - @MeyhemLauren; A Niles P. Joint

Meyhem Lauren is the reason why I invented #ICYMIMonday.  The story goes that I saw him perform in 2015 without being too familiar with his solo work, was enamored with what he had to offer musically, but also found out his most recent work at the time was released a year ago.  Instead of a premature Throwback Thursday, I created a new segment because his album was that dope.  I told myself I’d cover his next release in real time.  Well Piatto D’Oro just came out via Fool’s Gold Records so I’m sticking to my guns and taking this one to the rack.  This is one of my most anticipated releases of the year.  Since it came with producer credits, it’s only right I go track by track.

Sauce (feat. Hologram; prod. Seth Silenser) - This may be the first time I’ve heard violins and helicopters but it works on the intro on this song.  Meyhem leads off with a hit and hasn’t lost his quirky lyrical content, which is a relief.  His brother Hologram also makes an appearance.

Aggressive Metal (prod. Seth Silenser) - Ayo, the instrumental for this one reminds me of the background music in the final (Cradle) level of Goldeneye on N64.  Nostalgia will get you everywhere in this case.  It has a cinematic vibe and Meyhem proves to be a worthy leading man, as his flow is supremely confident.

Badmon Ting (feat. Big Body Bes; prod. Farhot) - The latest single from the album is a fun one.  Bes arrives early with the wisecracks and Meyhem makes a Jamaican themed joint that’s similar in vein to the mid 90s hip hop/dancehall fusion joints that got played in any NYC neighborhood that featured West Indian population.  It’s like updated nostalgia.

Vintage (prod. Seth Silenser) - In the age of the same corny ass trap hi hats polluting songs everywhere, it’s so refreshing to see Seth Silenser expertly make use of hi hats. This song is deliciously evil sounding and Laurenovich casually breezes through his bars, which is all he had to do.

Bonus Round (feat. Action Bronson, Roc Marciano, & Big Body Bes; prod. Harry Fraud) - Back in December, Mary covered this posse cut and had nothing but good things to say about it.  I concur, this is classy and understated and enjoyable.  All of these dudes play together better than the Warriors here.

Money In My Pocket (prod. Farhot) - This is the best example of a Queens rapper on a California flavored beat since Nas in 1996.  Some songs you hear and just know that the hook will play well live.  This is one of those songs.  I’m already planning to play this at the WTM staff BBQ as I serve the team mission style tacos.

Not Guilty (prod. Large Professor) - As soon as I heard the trademark sleigh bells, I knew Extra P had laced this track.  He’s clearly had good fortune with rappers from Q Boro and the streak continues.  Meyhem punches the beat right in the breadbasket.  This is a timeless song for the streets.

Live Ginger (prod. DJ Muggs) - Man, I hadn’t heard from Muggs in awhile.  I’m glad Meyhem tapped him here for the beat.  This is one of those situations where you combine two ingredients that don't seem like they would work and they do.  The instrumental is wavering and trippy and somehow complements what are the rawest vocals on the whole damn album.  No hook here, but the ad-libs in between verses are kinda hilarious.

Garlic and Oil (feat. Action Bronson; prod. A Villa) - Everything I said about this song in March still applies in May.  It’s always good when you can look back and say a song ages well like good merlot.  And this one does.

Fuckin The Whole Crew (prod. Big French) - While Laurenovich does the braggadocio raps as good as anybody, it’s always a real treat when he goes with a storytelling record.  This one in particular is all in the title; a chick is making her rounds around the entire squad trying to be slick.  But in the end, the dudes are all in on it.  This is the beat that you play during a late night diner excursion, real swanky without being too conspicuous.

Hate (prod. Super Dave) - Using vocal samples can be tricky because you want them to be relevant to your song’s theme but without being overpowering.  It happens here as the focus stays on the 1960s cop show beat instead of the dialogue.  Meyhem uses an uncomplicated flow to complete the mix.

Flexxin (prod. Icerocks) - This entire compositions is fuckin FILTHY and I love it.  You have the cascading strings on the chorus, a bullying baseline, the ripest percussion, and the occasional fluttering piano.  This is musical paella.  Lauren refuses to let the instrumental go to waste and runs full court lyrically, including the formation of a great hook.

Dragon V.S. Wolf (feat. Action Bronson; prod. Alchemist) - Bronsolino makes his third guest appearance on an Alchemist-produced track.  And somehow, it sounds nothing like you’d think.  Instead of being dark and brooding, it’s more airy.  To be clear I don’t hate this song, and it’s not badly done, it just isn't my favorite collaboration between any combination of these three dudes.  Kind of out of place on the album too, and short.

Sweet Chick (prod. Icerocks) - First off, these guitars are wicked and demand attention off the bat.  Meyhem casually slaps the beat around and still has a good time on the penultimate track.  I feel like listening to this in the car would cause a speeding ticket because it lowkey brings so much energy.  Queens looks out for Queens on this one because while listening, I paused and made plans to go to the Nas owned restaurant of the same name.  It all came full circle.

Elevation (prod. DJ Muggs) - Muggs returns behind the boards for the grand finale.  His drums sound like machine guns, but not in the modern, stereotypical, lame trap/drill sense.  Laurenovich speaks in celebratory tones but stresses the need to always strive for better.  It’s actually really inspirational and a great way to end the album.

On his last joint, the entire album was produced by Buckwild of DITC.  This time, he uses an array of producers, not just the same.  The album nonetheless maintains a sense of cohesiveness.  It’s a tapestry but with more standout singles than the last one, which can only help him commercially.  While some I never heard of before now, Meyhem Lauren makes it work.  He has one of the best ear for beats in the game.  His lyricism is still on point and he fills his bars with references to Polo, wheat grass and ginger, the finest cuisine, and having a good time while not taking shit.  At the same time, he shows his storytelling chops and even makes a motivational song at the end.  Beyond being slept on, Laurenovich is also one of the most well rounded rappers in the game.  

Rating: 4.75 out of 5.

Fool’s Gold Records and Meyhem Lauren have graciously put out this album for free (although I damn sure would've paid for it.  So click here for your free download of Piatto D’Oro.

Review: Re: Living - Large Professor (@PLargePro); A Niles P. Joint

Old Man Strength is one of the most enduring principles in the modern world. For those unaware, it’s the idea that old men have reserves of deceptive strength, somehow linked to their experience and seasoning in their respective discipline. In hip hop, Large Professor definitely has Old Man Strength, not to mention longevity. He came on the scene with Main Source in ’91 and parlayed that into a great production career which most notably included producing three songs on Nas’ Illmatic. He also had some solo success as a rapper/producer, which most recently manifests itself in his new album Re: Living.

The title track gets us warmed up and works as a great intro. Extra P discusses his M.O. for the album over snapping snares and understated keys. Dreams Don’t Die sees Large Pro reminiscing about past events using a Notorious B.I.G. sample/interpolation. Opulence is easily my favorite song on the album. It’s also fittingly titled because the beat is lusciously layered. It makes for a pensive aura that lasts virtually the entire album. Earn is one of two instrumentals on the album and features a mellow organ punctuated by handclaps. Large Pro goes into dad mode on the next song when he tells everyone to get Off Yo Azz on Yo Feet. It’s good advice from an elder statesman that thankfully doesn't come off as preachy. In The Scrolls tells the story of working with Nas and serves as an ode to arguably the best rapper in history. For more insight it features Nas affiliate G-Wiz giving more insight and props.

Own World features Fortune on the hook and serves as a grown ass love song. Not too sappy like some Canadians would do it, but very sincere. Sophia Yo is a funny cautionary tale about a dude that gets caught up dancing with the wrong chick in the club. Extra P reflects on his time in the rap game on New Train Ole Route which is my second favorite track on the album and the most upbeat. This is also Large Pro’s last vocal appearance on his own album, oddly enough. Industry Remix 2 has him behind the boards of course but is a large posse cut which features Inspectah Deck, Cormega, Roc Marciano, Sadat X, & Lord Jamar dropping knowledge about the industry. It’s a good song but it would have been cool to see P make an appearance on his own song. The album ends with NDN, an instrumental which makes great use of a Smokey Robinson sample.

Large Professor did himself a favor by staying true to his style and not hopping on trends. Using his own quality beats and keeping the guest artists on the same wavelength, he put together a solid album that I didn’t even have on my radar a month ago or so. It’s probably going to wind up on my year end top ten list. I wish it was longer though. It has 11 tracks, two of which are instrumentals that would have sounded dope with somebody’s vocals on there. Also in bizarre fashion, there’s an ode to Nas on track six (which works well) but the Queensbridge luminary doesn’t actually make an appearance on the album at all. This might come off as greedy/nitpicky to some, but I’m hella conscious of the magic that Nasty Nas and Extra P can create when they collaborate and would have loved to see them link up on this venture. Still, even with these minor grievances, Re: Living is still satisfying. I’m glad Large Professor has been able to stay consistently adept throughout the years. He’s a producer first and rapper second but he makes it work for him as he always has. This record will be enjoyable for old heads who want to check out new music from Large Pro and young bloods who are interested in learning about the legends of yesteryear. Re: Living proves that Old Man Strength even extends to the world of hip hop as Large Professor still has the goods after all these years. Stream Re: Living by Large Pro below.

Rating: 4.25 out of 5.