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.

Listen: Garlic and Oil - @MeyhemLauren feat. @ActionBronson; A Niles P. Joint

Meyhem Lauren’s star has been rising in the past year or so.  On the heels of appearing on a successful tour and TV show (Fuck, That’s Delicious on Viceland) with childhood friend Action Bronson, he’s been steadily releasing audio heat rocks.  The latest is Garlic and Oil. This time, Bronsolino is the guest on Laurenovich’s musical tour.  The song actually is a two for one deal by way of a beat switch in the middle.  The first half is produced by DJ Shadow, who samples his own song in 2002’s Six Days.  Keeping with the travel theme, it sounds like it was made to play in the background while the two Queens chums and their crew ride motorcycles & dirt bikes through the Colombian jungle.  The second half of the song is produced by A Villa.  Ironically enough, this portion sounds like it was constructed to be played during dessert time at a traditional Spanish villa.  You can picture these dudes eating mango crème brûlée while being surrounded (somewhat inexplicably) by a dozen naked models from Medellín.  Listen to Garlic and Oil after the break and look out for our review of Meyhem Lauren’s forthcoming album Piatto D’Oro coming soon.

#ICYMIMonday: Sip The Nectar - @AgdaCoroner; A Niles P. Joint

There’s a section of modern popular hip hop that is a haze of Xanax and lean and men’s leggings and overproduced beats and vocals. Somehow this plague spread to the East Coast. While it may be cool for the whippersnappers, the old guard is being underserved by the current climate in the culture. Enter AG Da Coroner. The East New York emcee finally delivered his long awaited album Sip The Nectar not too long ago and immediately threw a layer of much needed grit on top of the sweet shit that’s been out lately. The game was missing hip hop that sounds like funeral music, but Coronelli is here to fill that void. Let’s take a look at the highlights.

One of the most powerful songs comes early.  My Truth details Coronelli’s hardships growing up. In an album full of some of today’s hardest raps and threats, you have to give him props for opening up about his own personal struggle. The beat is appropriately grandiose for such a compelling track. The title track keeps it short and sweet. Over a masterful Adrian Younge sampled instrumental, AG Da Coroner spits daggers in his unique raspy baritone, commanding your attention automatically. For a change of pace, I95 is a pensive yet coarse song about drug trafficking on the interstate.  It has a real nighttime vibe, which makes sense because you’d assume that’s when you'd do the most coke moving. Bodega Bamz provides a hushed hook and a great guest verse. He’s best when under the tutelage of a veteran.

There’s not much in the way of levity on this album, but Church is pretty close. It showcases what might be the most extravagant beat on the whole album. Coronelli pines for the old days of music, and cringes at modern wack rappers and 360 deals. Serious subject matter, but on a neck breaking beat that’s the most positive sounding thing on the project. Conversely, Alchemist provides a more sinister instrumental with The Stick Up. The twin guitars fit AG Da Coroner’s rugged flow like a glove. As far as guests go, previous collaborator Meyhem Lauren lends his lyrical talents on two different songs.  The latter of the two is Blades in the Wind, which takes it back to the old school with a cut and scratched hook featuring some old 50 Cent vocals. Instrumentally, the album’s customary organ and electric piano provide a bleak yet engrossing base for the tough guys from BK and Queens.

This project, with the exception of a couple songs, has one speed and one speed only: grimy. Yes, grimy counts as a speed in this review. Nearly every track has an ominous tone both lyrically and musically. If you're into the darker side of hip hop from the golden era, you’ll love it. If you like things a little more cheerful and poppy, this isn’t for you by a long shot. While I delivered the highlights, there’s other quality production from the likes of Statik Selektah and Harry Fraud to be found.  There are only a couple of cons. Firstly, the album version of Park Ave with Action Bronson & Roc Marciano has a different beat (possibly due to sample clearance issues?) than the single which I reviewed and fell in love with. The new one isn’t bad, but it’s not as good as the original.  Also, at 18 tracks, the tracklist was somewhat crowded. It would have been more concise at around 13 or 14 songs, especially when some of the musical themes repeat. It’s a niche album, but it represents a demographic that’s been largely ignored and will really appreciate it. Sip The Nectar was a long time in the making and despite its hitches remains solid. Hopefully we hear more from AG Da Coroner sooner rather than later.

Rating: 4.0 out of 5

Purchase Sip The Nectar on iTunes here.

Review: FLYGOD - @WESTSIDEGUNN; A Niles P. Joint

I’m not sure a rapper has had a rise quite as meteoric and important as Westside Gunn.  Hailing from Buffalo in upstate New York, he’s been one of the most prolific East Coast rappers in the past year or so.  Dude’s  appeared on a batch of records, either his own or via guest appearance.  They haven’t gone unnoticed by us at What’s The Movement; hell we have a hard time keeping up.  His aforementioned importance comes in his style.  He brings back a classic NYC feel in lyrics and beat selection despite not being from the five boroughs (or Mt. Vernon or Yonkers for that matter.)  The attention to detail and commitment to quality had me eagerly anticipating his recently-released solo debut LP FLYGOD via independent label Griselda Records.  Some questioned if he could cary a full album, and he responded with 18 tracks his first time out.  He brought a mob of guests, so naturally I’m going track by track for this review.  

Dunks (feat. Conway) - It’s only right that he starts off his album with a collab with his blood brother Conway the Machine.  Over a pulsating instrumental with hints of mandolin (I think,) they trade verses and deliver a solid opener.

Gustavo (feat. Keisha Plum) - West delivers his first head head nodder/curveball simultaneously.  He finds a way to share a well constructed boom bap beat with poet Keisha Plum.  It’s one of the best on the album, but thankfully not the last heater.

Shower Shoe Lords (feat. Benny) - The piano in this song sounds like an Upper West Side penthouse apartment looks.  While I had never heard of guest star Benny, he holds his own.  The cut and scratched lyrics from Guru & Sean Price were a cool addition.

Vivian at the Art Basel (feat. Your Old Droog) - At first, I was kind of dismayed that there were two piano-driven songs back to back.  But the beauty of the album lies in the nuances in the music.  Based off the title alone, this piano paints a picture of waking up early in Miami after night one of Art Basel festivities and getting it together before you do it again.  Your Old Droog of course lays down a great verse but also polishes his hook making skills here.

Hall - This is one of Gunn’s rare solo songs.  To say he delivers is an understatement.  His flow is impeccable, especially over a beat that’s dominated by the sample, bass, and strings; drums are minimal here.  Wish it was longer but it gives way to an intro for the next song.

Free Chapo (feat. Conway) - Naturally a song referencing El Chapo & again featuring Conway would be on the album.  This instrumental is an inverse of the last.  Some guitar chords are present but the drums are most conspicuous.   It’s gritty and grimy and everything you’d want from the Buffalo brothers.

Over Gold (feat. Meyhem Lauren) - Scratch this one off of your list of dream collabs because it’s here and as good as you’d think.  Lauren drops off a raucous 16 and West closes it off.  Short and sweet, it has one of the project’s best instrumentals in a 60’s inspired infusion of horns and bells.  

Bodies on Fairfax (feat. Danny Brown) - This is another example of having two songs with similar musical hallmarks back to back without being repetitive.  The cascading bells & limited production make for a nice soundscape for the unlikely yet superb merger of Brown and Gunn.  Songs like this make the album unique.

Chine Gun - The thing that stands out here is the wailing saxophones that are best heard after 8pm, real nighttime vibe here.  I wish there was a second verse here but this seems to be more of a showcase for the horn than anything else.

King City (feat. Mach Hommy & DJ QBert) - More bells here but this time in conjunction with a faster tempo.  The change of pace suits West & Mach Hommy Well.  I hadn’t hear DJ QBert’s name in years but he reemerges to add crucial cuts and scratches to this song.

Omar Coming (feat. Roc Marciano & Conway) - The velocity slows back down as the Rex Ryan trio share the weeping guitar-soaked song.  This is Conway’s final appearance.  Good song, sounds like it could’ve come out of Scarface or any other 80’s drug related movie.

Mr. T - West shines solo once again over an airy yet assertive beat that sounds heavenly.  Sparse percussion lets the sample breathe.  You feel like you're floating listening to this one.  

50 in. Zenith (feat. Skyzoo) - Using an updated interpolation from Incarcerated Scarfaces, Statik Selektah gives West and Sky a light yet layered instrumental to work with that emphasizes harps & the snare.  Lyrically these two coordinate quite well.

Sly Green Skit - This is a (jailhouse?) interview with notorious Buffalo-based drug dealer Sly Green.  Instead of picking someone out of the litany of NYC street legends, the hometown antihero is featured.  Good choice.

55 & a Half - Westside Gunn’s flow is slow and deliberate on this one and it fits the dreamy sample and dirty drums.  He gives shoutouts towards the end.  Hell, it could've been the outro.

Albright Knox (feat. Chase) - The title references the famous Buffalo art gallery, keeping in theme with the album as art.  Chase is another rapper I wasn’t familiar with but he really takes control of the song.  The instrumental is bleak in a tragically beautiful way.  

Dudley Boyz (feat. Action Bronson) - I covered this when it came out and everything I said stands.  It’s an important piece to the overall puzzle of the album.  

Outro (feat. Bro A.A. Rashid) - Over a lounge piano and singer, Bro A.A. Rashid gives an impromptu monologue about real vs. fake, and art vs. bullshit in hip hop.  If you pay attention, you get a lot of gems from him.  

This was an album that I was most looking forward to in the young year.  West showed his ability to hold shit down for a full album after a few shorter projects.  His ear for beats is one of the best in the game as he’s able to get the most illustrious & exquisite instrumentals.  As I mentioned before, the ability to both discover and rhyme over beats with little to no percussion is a skill most can’t pull off.  Gunn’s flow allows it though.  The only issue I can really think of is his reliance on guest appearances.  On 16 songs (not counting the skit and outro) Gunn only has four solo songs, all of which contain one verse.  He has the charisma and ability to carry a full song on his own, but instead has an “everybody eats” mentality and brings in a cavalcade of guests.  Fortunately, none of them are wack and the album doesn’t suffer.  Westside Gunn sought out to make an album that could be considered art and at the end of the day, he did.  I usually hate comparisons, but it’s like the spiritual offspring of Only Built 4 Cuban Linx.  FLYGOD is one of the best albums in a still-young year and seems to have the staying power & replay value to be a contender for Album of the Year.  Stay tuned.

Rating: 4.75 out of 5.

Purchase FLYGOD by Westside Gunn here

Listen: Bonus Round - @MeyhemLauren feat. @ActionBronson, @RocMarci & @BigBodyBesNYC

Meyhem Lauren and producer Harry Fraud, have teamed up on this track to let us know what its like to be “on the road to riches” . Bonus Round is the new single from his upcoming album Piatto D’oro meaning “plate of gold” for all you non-Italian speakers out there. The sound is smooth and trippy. It contrasts well with the bars by Laurenovich and guests Action Bronson, Roc Marciano that go hard. They talk about their experience in the hood and how it has contributed to their journey in the rap game. Roc Marciano tells us about selling dope but says, “Range Rover, I’m a slave owner” because of his gains that are at the expense of other people. Bronsolino talks about his friend that will "Hide the gun in the pizza.” Meyhem spits about the good life tell us “we here” and have arrived at his destination of luxury, but not neglecting the fact that the streets of New York raised him, saying “We’re not worried about getting jobs; shout out to the dealer, one love to the user”. At the end Big Body Bes blesses the track with his infamous ad-libs admitting he’s a man of many mistakes, apologizing for what he’s done but not for where he is now. Overall the track has a trance-like sound because these guys making out of the hood to where they are now is almost like a dream. Check out Bonus Round below.

#InCaseYouMissedItMonday: Silk Pyramids - @MeyhemLauren & @BUCKWILD_DITC; A Niles P. Joint

Throughout history, rappers have a history of being too generous. Aside from general financial assistance, emcees have the Havoc philosophy of “Once I get on I’ma put on all my people.” This comes in the way of giving childhood friends features on their mixtapes/albums. This often doesn’t go too well as talent level doesn’t match the bond rappers have with their friends. Fortunately, this is not the case with Queens native Meyhem Lauren. He’s childhood friends with Action Bronson and has made guest appearances on every Bronson Project out. Lauren has the proverbial bars to stand on his own two and has actually been rapping longer than his childhood chum. For this inaugural edition of In Case You Missed It Monday, I took a look at Silk Pyramids. This is actually a collaboration album as Laurenovich enlists D.I.T.C. beatsmith and hip-hop legend Buckwild to produce the entire album. This was a great move, as their respective production and rapping styles fit each other like a glove. Aside from giving a classic NYC sound, this album could best be described as gritty yet extravagant.
  

Truthfully it’s a chore to pick even a handful of standout tracks. This isn’t because the album is lame, but because each track is pretty dope and flows together with the next one seamlessly like prestige TV on AMC.  100 MPH features the aforementioned Bronsolino, but like I said serves as a quick cosign and intro rather than the album’s only high point. Make no mistake, this is Meyhem Lauren’s joint and he owns it from start to finish. QU Cartilage features periodic sinister strings between cuts from PF Cuttin. It gets grimy on Salmon Croquettes where AG Da Coroner makes an appearance.  Besides rap braggadocio, Laurenovich is also able to make concept tracks. For example, Narcotics Anonymous talks about being addicted to the overall hustle of selling drugs from the POV of a dealer as well as the physical addiction to drugs from the perspective of a fiend (in this case Meyhem Lauren plays the dealer while guest Heems plays the addict). Honey Champagne Sorbet has more of a glamorous beat that helps showcase Laurenovich’s capability to adapt to different types of beats.  Guests are well chosen as Troy Ave and Retchy P complement Street Hop quite nicely. Aside from giving a classic NYC sound, this album could best be described as gritty yet extravagant.  

Meyhem Lauren once said he was “New York before it turned into a bike lane,” and I can’t think of a more apt description for this album and Laurenovich as an emcee. While having a famous best friend may help introduce him to a new audience, he definitely has his own style and legacy. This is a rapper that can punctuate street tales and braggadocio with talk about wheat grass shots and Billie Holiday references. Aside from rap, he founded the graffiti collective Smart Crew and is a member of the infamous NYC-based Lo Life Crew. Anybody that can master more than one of hip-hop’s four elements is good in my book. You can tell Meyhem Lauren has real reverence for the culture overall.  The fact that he chose to work with the legendary Buckwild cements this as a must-hear album even a year after its release. It’s never too late to get familiar with a dope emcee, so keep an eye out for Meyhem Lauren.

Mr. Wonderful - @ActionBronson Album review by @Niles_C

Despite the growing popularity of independent releases and mixtapes that sound more like albums, having a solid major label debut is still seen as the crowning achievement in a rapper’s career by many observers.  If you've built a fan base independently, do you use the exact same formula that brought you there, or do you use your new found label-backing and try something new?  Action Bronson is the prime example of being at this juncture.  The chef-turned-emcee has garnered critical acclaim with independent albums, mixtapes, an an EP well before his major label debut Mr. Wonderful was even conceived.  He faced the challenge of simultaneously appeasing both his diehard fans and label suits/potential new fans.  Going too far in any direction could result in a whack debut.  Fortunately, Action Bronson made it work.  The Queens native managed to stay true to his roots and personality while trying some new things that resulted in good singles.

Bronsolino has always rapped over unorthodox samples and continues the trend on Brand New Car that sees Mark Ronson smartly flip Zanzibar by Billy Joel.  As usual, this perfectly suits Action Bronson’s stream of conscious flow.  He further goes back to his well of success when he links up with super producer and long time collaborator Statik Selektah for The Rising.  Everything about this track just sounds triumphant from the keys and vocal samples to the horns and bombastic flow, which are respective trademarks of Statik and Bronson. The latter’s cousin Big Body Bes makes an appearance on the end of the song to talk shit, which is another staple of Action Bronson’s work.  Keeping it all in the family always proves hilarious in this case.  

At this point in the album, Bronson veers off of the beaten path and experiments a little more with his sound.  Terry contains his usual wacky adventures in the lyrics but the real focus is the lush and luxurious beat crafted by The Alchemist. Actin Crazy took awhile for me to get into because I’m not a huge fan of 40’s beats and this one in particular doesn't seem to fit in with the rest of the album. However Bronson’s witty lyrics and food references reeled me in eventually.  Falconry is straight NYC grime, feels like it could've came out in ’93. I’ve been quoting it for weeks and The Alchemist once again creates a musical playground for Bronsolino and guests Meyhem Lauren and Big Body Bes.  THUG LOVE STORY 2017 is a man-on-the-street interlude of sorts that sets up City Boy Blues which lives up to its name. This 88-Keys/Party Supplies produced joint is the biggest departure musically for Action Bronson, as he doesn't rap at all but instead sings the blues about a woman doing him wrong. Normally I’d be dismayed about a rapper singing about heartbreak but Bronson does it right on this track. Party Supplies shows up to produce “A Light in the Addict” which once again has humorous lyrics over stupendous instrumentation.  

Baby Blue has more lyrics that derive from a scorned relationship but this time combines Bronson’s rapping/singing with a Mark Ronson beat that is reminiscent of the singer/songwriter era of the 70’s.  Think Karen Carpenter almost.  Chance The Rapper comes and steals the show with a hilariously spiteful verse. Only In America has been my favorite song on the album since it came out.  Party Supplies samples some German guitar riffs that pair with Bronsolino’s (sometimes alliterative) lyrical acrobatics excellently.  His second verse serves as a call to arms of sorts for NY/East Coast hip hop. I love the conviction. It’s vintage Action Bronson mixed with his new commitment to the instrumental side of things.  

Galactic Love has Bronson spitting over a jazzy lounge inspired beat (by The Alchemist) with a slinky baseline. It’s intercut with a phone call between him and his mom. The Passage (Live in Prague) isn’t actually a live song but is just engineered to sound like it is. It does, however, serve as a passage to the the final song and album’s first single (which debuted last year.)  Easy Rider is inspired by the 1969 movie of the same name and feels like a motorcycle ride through the desert.  Party Supplies does it again, creating a flavorful musical backdrop for Action Bronson’s lyrical escapades (these are more storytelling than others.)  This one features another foreign song sampled and some of the most savory guitar licks you'll hear all year, along with an underrated bassline.  

Here’s the thing.  On one hand, Mr. Wonderful is a departure from Action Bronson’s previous projects. You knew he wasn’t going to be able to rhyme over 80’s pop hits from Phil Collins to Lisa Lisa & the Cult Jam like he did before. Not only would that cost a fortune in sample clearances, but it wouldn’t show any actual growth as an artist. Instead, Bronson chooses more extravagant and layered production than he did on his mixtapes and it pays off big time. He managed to do this and still not lose sight of who he is as an artist. He got to try new things while still maintaining his funny ass personality and lyrical stylings he cultivated on all previous projects. Big Body Bes, Meyhem Lauren, and Chance the Rapper make appearances like they’ve done before and he was laced with beats by previous collaborators in The Alchemist, Statik Selektah, and Party Supplies (Harry Fraud is surprisingly absent from this album.)  Adding Mark Ronson, 88-Keys, and even 40 only helped the proceedings.  It’s like moving into a more modern and bigger house, only you keep your personal style on the interior and manage to combine all of your old friends with a few of your new neighbors.  That’s what Action Bronson did on Mr. Wonderful.  On a more abstract note, this album’s essence is like an 80’s action movie mixed with the finest margherita pizza on the East Coast mixed with “Summer in the City” by The Lovin’ Spoonful.  At 13 tracks total (11 songs and 2 interludes) I just wish it was longer.  I’m used to the sprawling tracklists of his mixtapes like the Blue Chips series (this might not be possible on a major label debut, possibly because of the aforementioned sample clearances.)  But I can definitely appreciate Action Bronson’s musical ambition and ultimate growth that definitely resulted in a wonderful ass debut album and one of the best of the year.

Rating: 4.5 out of 5