I am 26 years old and that places me at an age in which I’m old enough to start thinking seriously about my future but still have a yearning for the childhood obsessions that occupied my youth. I spend hours researching old Saturday morning cartoons on Wikipedia, watch old WWF (Fuck-a-World-Wildlife-Fund…it will always be the WWF to me!) matches on Youtube and cop X-Files DVDs at Best Buy. My world is rapidly changing around me as my friends start to slowly pair off and get engaged, advance in their careers and become fully function members of the vile cult known as adulthood. Meanwhile, I’m beginning to think if my reverence for the glorious, permanent juvenilia that has become my modus operandi is something that I should abandon for something approximately approaching societal norms. (I can’t keep delaying law school forever. Ugh.) All this means is that nostalgia has particular death grip on my psyche at this moment in my life. I don’t want to grow up but am self-aware enough to know that this is not a particular healthy notion to be harboring.
For me, Raekwon’s “Only Built 4 Cuban Linx…
On the surface, Cuban Linx II is an ostensibly perfect record. For an album that took nearly 14 years to make and is the sequel to one of the most highly acclaimed records in the history of the art form, it works way better than I can possibly have hoped for. It works as the type of perfect ‘90s crime epic that used to be the norm until it was abandoned for the cartoonish, uber-violent, half-baked crack rap fantasy of the Young Jeezy’s and the 50 Cent’s of the world. It is meticulous and grounded in details. It is loaded with pathos and drama and it makes the delusion of “Deeper Than Rap” seem like the highest of high comedy. And boy does it ever bang. Raekwon has not only brought out the heaviest of heavy production artillery (Dilla, Dre, RZA, Rock, Marley fuckin’
“Only Built 4 Cuban Linx…
I feel strange writing a seemingly negative review for a record that I happen to love. It is a record that I have been banging for a week straight and it reminds of me all the things that I miss about hip hop. I just don’t know if this is the record that I should love after all these years. Hip Hop needs more than older artists mining the exploits of their older, better records. It needs innovation. It needs somebody trying to push its boundaries. It needs to find the future. (It needs
-Who did U-God piss off to get left off the album? Even Masta Killa got two features!
-It doesn’t remotely bother me that some of these beats/samples have been used elsewhere. Nobody cared about O.C.’s second record in 1997. Nobody cares now.
- At this point, anybody who is in doubt that Ghostface is the best human being alive working in the profession of rapper is seriously kidding themselves. Everybody brings their A-game on this record and Ghost still dominates like
- J Dilla should have been producing all Wu-Tang efforts from ’99 on. “House Of Flying Daggers”, “
- How big of a fool is
- If mobster bosses’ don’t pop off with lobster-sauced angel hair then they seriously need to reconsider what they are doing with their lives. I’m glad to see Deck is still bombing atomically 10 years after he mysteriously had his voice stolen by the Gentleman.
- “They found a two year old, strangled to death/with a love daddy t-shirt/ in a bag/ at the top of the steps.” Need I say more… Verse of the decade material.