Amy Winehouse, the immensely talented singer with a dark past that was able to refine soul music and bring it to a mainstream audience. The use of her blissful voice, tainted storytelling, and ultimately a story of despair, produced one of the greatest soul records of all time.
Back to Black is the tale of Amy Winehouse’s unfortunate downfall and run-ins with depression, alcoholism, and an endless string of pain. While Back to Black has a primarily cheery sound, the end product when mixed with Winehouse’s ability to illustrate the short-comings within herself becomes a picture of light forming into the shadow. The “black” creeps in as the light fades out, the whole album is constantly met with this undying theme of duality within itself.
Back to Black begins with Winehouse’s hit song, “Rehab” which not only was one of the biggest songs off of the album, but the perfect example of how Winehouse struggled with her addiction and those around her wanted to help her with her habit. Back to Black as the title suggests is a constant downward motion. The perpetual spiral Winehouse describes through her music, leading up to her death in 2011 leaves a bitter taste in the listener’s mouth. Back to Black is such a masterpiece musically, but it has this great amount of baggage and dread attached to the tracks and what Winehouse speaks of.
The following track “You Know I’m No Good” has this great jazz style bass line and the drums behind both Winehouse and the gradual horn flare creates this relaxed feel. The musicians that Winehouse worked with on Back to Black did a perfect job of backing her vocals and to have them both stand out without overpowering each other could not have been done any better. Winehouse sings a great chorus “I cheated myself like I knew I would” and again, it gives off an uneasy feeling to the listener.
“Me & Mr. Jones” follows and this is the perfect example of what sounds like soulful, gospel music. The organ, the lively background vocals, and even the way Winehouse uses her booming voice to assert herself in the track was outstanding.
Then the song “Just Friends” has this interesting dreamy guitar beginning that slowly rises up into the use of off-beats on the percussion. Winehouse again does an outstanding vocal performance and that is one of the staples of Back to Black. With any other singer, this record would just simply not work. Winehouse does an incredible job with each delivery and she can make even the most hurtful lyrics sound like silk.
Finally, the track “Back to Black” comes into frame and it is easily one of the best tracks Winehouse has ever performed in her career. Everything about this song was executed so well, and the strings ensemble used these great chords that stick out so well and could make a substantial song by itself.
There is also the track “Wake Up Alone” which has this 1950’s teenage dance sense to it. The guitar moves freely through the fret-board making the whole track feel like as if it is moving in slow motion. Winehouse speaks again about “The dark covers me and I cannot run now.”
Amy Winehouse was a truly talented musician and Back to Black is her swan song of an album that touches into the depths of her struggle with depression, addiction, and ultimately death. Winehouse was able to create on of the most soulful albums of a generation, and will live on through her tracks that continue to rattle the Earth even to this day.
$uicideboy$, the now fairly known punk/clout/trill-rap group that swept the underground rap scene by storm, finally releases their highly anticipated debut album, Eternal Grey. This was supposed to be the best of the best from $uicideboy$, the real crème de la crème. Unfortunately, Eternal Grey is interesting at a first glance, but then slowly fades into what feels like a writer’s block nightmare.
Eternal Grey has some interesting and intuitive instrumentation, the beats that back the tracks are actually varied and switch up in style even within the songs themselves. What was lacking, was the actual verses. $uicideboy$ has always been on the verge of “edgy” and “trying too hard,” with Eternal Grey, they start to teeter more towards the “too hard” part of the spectrum.
The first track that comes to mind is “I Want to Believe,” this track starts out promising with a strong introduction from $crimm, or who is now better known as Yung $carecrow. Then it goes into this outrageously aggressive screaming match that destroys the track. Usually this would be something I could get behind as it is an in your face kind of attitude, however on “I Want to Believe” it just feels so out of place and unwelcome.
There were some great things on Eternal Grey, but they were mostly the production side of things. The beats on “BREAKDALAW2K16,” “Elysian Fields,” and the wolf howl sample used on “Eclipse” were all great uses of what $uicideboy$ had at their disposal. Unfortunately, the production just was not enough to save Eternal Grey from becoming monotonous after only a few listens.
From the track “Ultimate Suicide” that was leaked, it was easy to become immensely excited to hear some new music from the “Underground Kings.” Instead I found it to be better to go back to their older tapes that had more fleshed out ideas. Eternal Grey has so many shifts and jumps in songs, which sometimes works out for the album but in this case it crushed the album down even farther than it already was.
Eternal Grey was a project that had more than enough hype and potential to be $uicideboy$ best release to date. Sadly, the debut album is more of a less interesting sounding montage of all their songs from previous releases.
Eternal Grey was an experimental mess of misery, rather than moving forward, I feel like Eternal Grey is just standing still. It was not entirely a flop. The production continues to become better and better and while I downright hated certain songs, there were still some moments that made me feel like I was discovering $uicideboy$ all over again.
Bad Brains, the album that is better known to the public as “Banned in D.C.” will be the album that sparks a punk revolution. Bad Brains was a legendary group that seamlessly blended both raw aggression and slowed reggae to spread peace, love, and empowerment through music.
Bad Brains opens to the clash of drumsticks deciding the tempo to what would become one of the catchiest songs on Bad Brains line-up. “Sailing On” would become a staple in music history, the vocal performance from front-man H.R., the bands quick fingers on both the guitar and bass from Dr. Know and Darryl Jenifer, and the iconic drums being played by non other than H.R.’s little brother Earl Hudson, creates a frenzy and flurry of emotion that pours in within the track’s first four seconds.
The band had an established following in their hometown of D.C. for not only being Rastafarians that played punk music, but for their off the charts level of energy they brought to shows. Stage diving, wild dancing, and mosh pits were all synonymous with Bad Brains, and D.C. would soon have nothing to do with that.
The Track “Banned In D.C.” would touch upon their short-lived banned in the clubs and lyrics like “Banned in D.C. with a thousand more places to go.
Gonna swim across the Atlantic, cause that’s the only place I can go,” show their disapproval with the ban. It was not entirely surprising to see Bad Brains banned, but it was surprising to see how wildly successful the band was despite the ban. The group would move to do tours all over the United States, Europe, and pretty much any place that wanted to see Bad Brains destroy a venue.
Wild, belligerent, but still at a moments notice, able to calm down and go into a slow melodic groove of jazz, complimented with reggae. The group was able to understand how important the merging of multiple genres was in music, and were able to blend them perfectly.
Bad Brains will go from tracks like “The Regulator,” “Attitude,” Supertouch/Shiftit,” “Big Take Over,” and even “Right Brigade,” to the tender and tranquil tracks like “Leaving Babylon,” or “Jah Calling” where they could be played in a late night jazz club. Bad Brains has these breaks in the action, but they are done so well for the album has this great motion and flow that keeps the breaks feel so significant to the the record.
Not only is Bad Brains a punk hybrid, with reggae influences. They are actually social commentators that give the voiceless a voice in all the confusion that is daily life. Punk music was freedom and was a liberating way to express oneself in the 1970’s, just as it is today. Bad Brains shows how the punk mentality is not just for a single group of people, it can work for everyone and music can connect one branch of people to another.
No Love Deep Web is the violent child of overpowering synthesizers, a dramatic vocal performance, and a primal sense of understanding. The album perfectly balances both heightened sensation and the relation to inner destruction. No Love Deep Web not only gets in your face and destroys everything in sight, but it also taps into the inner-working of schizophrenia, paranoia, and elemental aggression.
Death Grips is like another wonder of the world; they are interesting to not only see, but to experience. No Love Deep Web is an experience like no other, from the first synth lead on “Come Up and Get Me” to the moment the track leads into MC Ride’s first vocal performance of the album, it has this immense amount of animation. The track moves through these varying beat patterns that include Ride with an exerting scream that appears all throughout No Love Deep Web.
This is easily Ride’s most intense form of vocal performance to date. Rather than simply rapping, he shouts every single lyric and there would be no other way that Death Grips would work without it. Between the vast amount of percussion, the varying beats laid with keyboards, and the aggressive vocals, they all compliment each other and make what Death Grips is. No Love Deep Web capitalizes on this concept and creates an in your face, primal rage of an album.
Throughout No Love Deep Web, there are these interesting beat changes that not only vary the songs flow, but vary the sounds used as well. The percussion is intricate, but also feels natural. Zach Hill does a perfect job of creating these near ritualistic sound with his drums, twisting them and distorting them like in the track “No Love.”
This track is the heavy-hitting, ear numbing, destroyer that has one of the most memorable beats of No Love Deep Web. “No Love” is a powerful onslaught that also includes a great percussion break in-between the constant pounding of the bass drum. The snare bounces and creates this strange but catchy tap beat when compared, the whole track is overall deafening. However, the snare break is able to reel the track back into a less aggressive flow.
Following “No Love” is “Black Dice,” this track has a low tuned bass undertone, with a more fore-frontal, higher pitched synth part that seems to echo throughout the song. It creates an interesting duality within the track as both instruments seem to build each other up. The track then leads into these great synth chords and then abruptly cuts off leading into the next track.
“World Of Dogs” has this strangely enticing beat with what sounds like a double bounce dream. The bass drums bang out these great eighth notes and the lyrics are what steals the spotlight. The “Mountains of Teeth,” and the line “It’s all suicide to me” floats out of Ride’s Monotone voiced. “World Of Dogs” and No Love Deep Web as a whole, has this overarching theme of death and suicide attached to it. Not only is MC Ride’s lyrics intense, but they also touch upon all the thoughts of one who is going breathe one’s last breath
The next track “Lock Your Doors” is what a tornado of fire would sound like. The track is not only aggressive like the rest of No Love Deep Web, but the track is also disturbed. Ride continues with the subject of misery, “Come on stick me, cut e, drain me, suck me, drink me, take me down.”
No Love Deep Web is aggressive, forceful, but ultimately full of vitality. I loved Ride’s vocal performances and Zach Hill was absolutely incredible with the percussion work.
The final track “Artificial Death in the West” features one of the less punishing tracks of No Love Deep Web. The track is able to blend what sounds like a drive through city outskirts at night, and an impressive display of vocalization and reverberation. While it does not fit the other tracks as well, it ends the album on a higher note and creates this great sense of space.
Not only is No Love Deep Web a crushing album full of fractured bones, loud screams, and an overly abrasive tone, but it is also filled with a certain beauty to the destruction. It obliterates, but it also rebuilds.
Cheena, the intense punk rock band from New York holds back no punches with their newest release, Spend the Night With… It is loud and abrasive, showing nothing but the raw musical emotion behind the shady nights in Brooklyn, The street-smarts of Soho, and the crowded train cars of Queens.
Cheena brings the downright dirty images of New York up in all of their music. One can imagine the crowded streets, back alleys, and of course the different types of people all forming in one single metropolis. Spend the Night With… is able to capture that incredible authenticity of the city life, and while the album is slightly reminiscent of Iggy Pop as the way the recording was done in an almost lower quality sound. Cheena is loud, in your face, and destructive as well.
Tracks like “Stupor,” “Car,” and “Tarzan” have these great changes in the song’s progression. It was intriguing to hear just where the song would finally end up, it was almost as though the tracks progressed themselves and they had this great amount of flow to them.
Other tracks, like “Nights” have this clash of both slower and faster parts that create a duality within the track. The drums while faster and pounding, contrasted with the floating guitar sounds created a great sense of a long day, but an even longer night.
The overall sound quality of Spend the Night With… was fairly eyebrow-raising as it sounded as though the tracks were recorded with only a single microphone. It added another element to the tracks that felt very personal, like this was a recording done in someone’s basement at two in the morning.
Cheena does a great job of creating a setting for their music, as Spend the Night With… progresses musically, it also progresses in telling this great story through instrumental solos and some downright gruff vocals. All throughout Spend the Night With… the vocals continue to repeat in my head as they just sound so dirty, but also elegant at the same time. Going with the theme of duality again, the vocals on certain songs like “Lost My Way” are more melodic and are actually quite pretty. This is contrasting with the instrumentation as it continues to be a mismatch of some guitar switch ups between higher and lower chords, and the drums keeping a steady beat on the floor tom.
Then finally comes the last track, “M.E.” This was easily my favorite track of the whole album as it has this great uplifting guitar riff and it is just the perfect song to move to. It is also one of the quicker songs and just as soon as it begins, it comes to a close.
However, I wish there would have been more use of the drums
as they seemed to only play a background part and there was so much potential to have them really shine through.So come on and spend the night with one of the better releases this year, come on and Spend the Night With… Cheena.
In 1974, an instant classic was released upon the public, an album showcasing both innovative instrumentation, fascinating harmonies between singers, and performances
Crime of The Century was a record that just simply rocketed Supertramp into becoming recognized for what immensely talented musicians they were. The production behind each track has this outstanding spacious feel and it sits, matching the interesting genre that most people will call “art rock.” This is still rock n roll at its finest points, but the way Supertramp modifies the formula and the way they are able to manipulate each track into becoming such a powerful and well layered song, is something of magic.
Crime of The Century begins the track “School,” the wails of the harmonica has just become so iconic in the way it echoes in the room. It begins to set the space, giving off this ominous sound that leads into a child’s scream, then finally the music comes blasting in. I loved the use of layering on Crime of The Century, the way that each track has such depth and finding something new becomes almost child’s play after each listen.
Supertramp then keeps the pace with the following two tracks, “Bloody Well Right” and “Hide In Your Shell,” which are both a powerhouse of saxophones and horns behind the almost hopeless lyrics each of these tracks. “Write your problems down in detail, take them to a higher place, You’ve had your cry- no I should say wail, in the meantime hush your face,” paints this bleak picture of no free speech on “Bloody Well Right.”
Then following, “Hide In Your Shell” starts out and seems to be a more slowed down, and almost having this symphonic sound. The track then ramps up to this emotional conversation that happens inside oneself. It illustrates through the lyrics the confusion of where one’s life has headed as they become older, and start to see things much differently than what they were.
“Asylum” follows and this is easily the most dramatic of the tracks on Crime of The Century. It makes a point to show this internal struggle of, what one’s life had come to. The track starts beautifully with these piano keys being played over what would soon becoming an intense fight for sanity. Eventually the blissful piano keys disappear and “Asylum” slowly falls down this rabbit hole of crashing sounds being played together to create what seems to be a split personality in the music.
Crime of The Century really focuses so well on a story of one person trying to fit in to a society that just will not accept them. The tracks like “Asylum,” Dreamer,” and even “Rudy” paint this actually quite daunting life of what seems to be a person that will never be allowed to live how they want. In the track “Dreamer” it simply explains how the dreamer in this situation is ridiculed for being just that. How his ideas will never be anything more, he is just a “Stupid little dreamer.”
Supertramp created what I would call a rock opera, it shows the story of a person trying to fit into a society, that will only throw them away, lock them up, and destroy the key. While the music is progressive and quite beautiful, it contrasts to the morbid overtone of how we, as a society will always be ridiculed for out ideas and never truly be free. Either way, Supertramp opens up a new world, not just musically, but narratively as well.
The self-proclaimed genius/god, was once a single man named Kanye West. Kanye made a name for himself as just a kid from Chicago that had a dream of making it big and leaving behind a totally different life than what he lives now. What was once a life of pain, sadness, and over all melancholy, has now become a life of pleasure, luxury, and ultimately, the life of a god.
Yeezus is the project from Kanye West that totally changes up his style and adopts a more industrial sound. The beats are toned low, grimy, and have a beaten feeling. The opening track “On Sight” has these synth chords and progression that sound like a borderline war within a track. The synths appear crunchy at first, then frequently change between loud and aggressive to a more poppy and cheerful feel. This mixed with the interesting beat change where a child chorus comes in creates an overall interesting first track.
West has always been known for his incredible and unmatched production, Yeezus is no different as he is able to simultaneously change the beat up from song to song, each track adapting to West’s changing attitude. West at certain points in tracks like “BLKKK SKKKNHEAD” and “Blood On The Leaves” has these screams that show just how he progressed from his past releases. There will be no tracks like “Homecoming” or “All Falls Down.” West has changed his entire style and Yeezus sounds more primal. This is a new Personally, I thought Yeezus was one of West’s better releases as it has such interesting production and while the verses are not the most amazing, they are still earth-shattering as Kanye West drops some great knowledge about his surroundings. The track “I Am A God,” while I was not entirely a fan of, was still interesting to hear West compare himself to this god of rap music. I liked where the song was going, I just could not fall in love with the cornier lines in this track.
Then Yeezus moves onto one of the best tracks that I think West has ever done,
“New Slaves” has such a catchy and interesting beat, which then switches up to a full symphony of voices that echo behind the instrumentation. West rattles off some interesting verses about “Leaders and Followers,” to then “Rather being a Dick than a
Swallower.” Every time I hear West say this line, it continues to make me laugh as it is just such an insane thought and it always seems to catch me off guard. The track then has this amazing switch-up in the beat to a sample of Hungarian Rock Band, Omega. This is easily the greatest part of the entire song as Omega has these great string ensembles, that Kanye pairs with a woman’s vocals and it makes the entire track.
When most people ask me why I like Yeezus, I can reply simply as, “It is the album where Kanye West let his creative juices flow and really sounds like he went into a deep insanity.” There is only one track that I could do without and “Hold My Liquor” takes that prize. I just really did not think it was overall a great track and it sounded like a side project. It was not nearly as fleshed out as I would have hoped, and it does not match the rest of the album as well as the other tracks.
Remaining tracks like “I’m In It,” “Blood On The Leaves,” and “Send It Up,” all have these great industrial breakdowns and while “Blood On The Leaves” is able to have an overall beautiful sound, the theme behind the track is actually quite horrid. I just loved to hear how West was able to convey his ideas and change his sound up into a totally different direction. It was unexpected, and if you compared this to the Kanye West albums that came out over ten, even five years ago, it would sound like a totally different artist.
The final track “Bound 2” has become synonymous to what I would call one of the more comedic tracks of West’s. While I do love this song, I still think the beat change up and the overall lyrics are, well interesting to say the least. It was the perfect send off to one of the best albums Kanye West has ever released. He may not be a god, or a king, he might just be a psychopath, but you just have to respect Yeezus.
Vince Staples was always an artist that had great visionary procedure and knew how to really capture an audience. Summertime ’06 was the album that described Staples’ come up from a life with a father in crime, to what his life had become now as he tried to break the cycle, but ended up following in his father’s footsteps. Prima Donna is partially a continuation of what Summertime ’06 touched upon.
Vince Staples still talks about his younger days in Long Beach, California, and the setting around him. Staples, who is an immensely bright artist that was surrounded by the darkness of crime, violence, and misery, recognizes this and touches upon the subject all over Prima Donna. The first sounds heard on “Let It Shine” is what seems to be a gun being loaded, then fired into Staples or someone around him. It could most likely be assumed that Staples kills himself as suicide references are all over Prima Donna.
The track “Prima Donna” has a line where Staples describes how he would “Buy a million-dollar home and blow my dome to paint the kitchen.” Vince Staples has never been afraid to talk about darker subject matter and speak his mind. Prima Donna is a testament to that, as Vince Staples changes up his style in part for pieces of spoken-word poetry in between tracks.
These breaks do not act as just filler to the album length, they are actually some of the most important pieces to the Prima Donna puzzle. The spoken word was such a amazing addition and the way that Staples implements it as a way of progression just proves how talented he is as an artist. Without being confined to a beat or bars, Staples is able to rhyme together phrases that resemble a stream of consciousness that I still find myself repeating even now.
There is a great line on the track “Smile” where Staples says “Don’t say you feel my pain, cause I can’t even feel myself.” Prima Donna is by no means an uplifting album, but Staples manages to make the record still have some pumped-up beats that are some of his best yet. The beat for “Prima Donna” and “Big Time” were some that could have easily fit on his Summertime ’06 record and “Big Time” even has a similar “Next Time on Poppy Street”
segment. The thunderous rain clouds, and the woman asking “Is anyone there?” creates this eerie feel and I can only imagine what Staples has in store for his next release.
Staples who has always been a favorite artist of mine has really been setting the bar so far above the competition that it is amazing to see how he grows with each release and how he continues to destroy barriers in music. The outstanding production, the catchy lyrics, and the spoken-word, when put together create this powerhouse of an LP.
Head Hunters is the golden standard for outstanding musical composition and flow in jazz music. To say that Herbie Hancock is one of the greats would be a disservice to him and to this testament to the music world. Head Hunters is not only an immensely intense record with tempo changes and complete beat switch ups in a second, but it is also one of the greatest jazz fusion records of all time.
Herbie Hancock is the mastermind behind the twelfth studio album simply titled, Head Hunters. This four track long LP may sound underwhelming, but if you know anything about Herbie Hancock, you know that what his albums lack in song quantity, they make up for in song quality and length.
Head Hunters is just over the forty-one-minute mark, and when the crunchy sounding synth lead kicks off the album with the rest of the band finally joining in, it gives off this moment of intrigue into where the LP will flow to.
Beginning almost softly and with a more laid back tone on “Chameleon,” Head Hunters soon picks up to be a near free-form jazz standard that melts the face of anyone listening. As “Chameleon” continues on this near bouncing walk of an almost funk beat, it slowly changes into something that is not at all like the original start. It slowly picks up into the crash of an amazing synth solo that seems to echo in the mind for hours. The drums and background horns are also great at backing up and keeping the very tightly-knit sound together.
There is also this great part where “Chameleon” changes into what sounds like a chase scene from a dramatic movie, where the drums pick up and the strings behind the band create this intense overtone to the track.
The next track which is titled “Watermelon Man” has this interesting use of flute that reigns through the track, which only breaks as the song slows down to a near crawl. Which then builds back up to the original beat, when first hearing “Watermelon Man,” the different flutes and background vocals that pass as near shouts almost made me laugh. Then when the bass kicks in and has this booming drum track that is filtering in and out of fills just creates this great use of everything Hancock had to use. Head Hunters is an album that is not only complex, but also layered and shows these great progressions through each track. It is almost as if the tracks have tracks inside themselves.
Hancock then moves into a more free-form style of track with the song “Sly.” This is where the Saxophone wails, the jungle beats form, and the cymbal blasts just rampage through the track. The build up is rather slow, but as the track moves along, it becomes more and more frantic. This is where Head Hunters is able to show the true power of the musicians on each instrument. The multiple layering and just how outstanding the actual sound is, was just incredible to experience. By the end of “Sly” the band is in full Bravado, blaring everything they have into one single song.
The finale of Head Hunters is by far my favorite track on the whole LP, “Vein Melter” is the perfect send off. The thumping bass line and the string ensemble creates this great rhythm to the track, but the piano and keyboards are the real important pieces of the puzzle. The high toned keys that Hancock plays just seem to bounce effortlessly through this dark, noir-like, two in the morning jazz club feel. Head Hunters is not only a perfectly created composition, but it is a journey to another realm known only to us, as Herbie Hancock’s World.
Let’s face it, Ratking is a conglomerate of talented producers and lyricists that can bring that New York vibe to anyone who never even stepped foot in The Big Apple. Wiki steps out of the shadows of Ratking and into the spotlight with his new record Lil Me.
Wiki has always been well known for his lyrics and having the ability to annihilate beats without even breaking a sweat. In Lil Me, the beats included are diverse and some of the most original that I have heard since Earl Sweatshirt’s I Don’t Like Shit, I Don’t Go Outside. Wiki Stands up to the crowd with use of heavy bass, that classic street style saxophone, and that pristine hi-hat that grooves the music along at a steady pace and it is easy to lose focus on the lyrics as you focus on the beats behind it. However, the lyrics are a change for Wiki, they seem to be more melancholy and also seem to touch more on how Wiki feels with his new found fame. This is an energized album for the most part, but with songs like “Seedy Motherfucker” and “Patience” the pace is slowed down and they let us get a look more into the personal life of Wiki and even some of the artists featured like Antwon, Slick Boy, Teddy AF, Skepta, and of course he comes along with the help of his two long term friends and other members of Ratking; Sporting Life and Hak. When they come together on the track it is almost nostalgic for anyone who has been listening to Ratking since the days of Wiki93.
Wiki explains in several songs that he “feels alone when he is home” and no one can comprehend him, but through tours and going to London he realizes that people do “get him.” On “God Bless me” Sporting Life explains that “When I’m out in London know they get me.” Wiki brings up his loss of passion which is new to him and then discusses how he can talk about the responsibilities of being an adult like getting into fist fights with bouncers and the fun of not being able to hear anything in the overpowering coliseum that is New York.
This is where Wiki shines his brightest, but also starts to fall to a less energetic ending that reminds the listener of those early morning sessions of the noises of New York. The second to last track of this eighteen track powerhouse is more somber journey, reminding the listener of what it meant to “come back from the wrong side.” Wiki through out this track describes the changing leaves which would obviously lead and refer to the changes inside Wiki’s life and what has happened over the last couple years. “Sun Showers” is a fitting end to the record unless including the forty-six-minute-long speech from Aaron Bondaroff. The track really flows well from the rest of the album and it leaves on a very high note.
For those who do not understand or know of Wiki yet, Lil Me is definitely worth your time if you are into quick “club-style” beats, or it is good for the slow listener with tracks like
“Seedy Mothefucker” and “Sun Showers.” It has a little bit of everything for everyone and it really can teach you about New York and what it meant to be a “mutt” fairly quickly. Wiki has not only set the bar for newer MC’s, he has also crushed and walked over anyone who doubted in the past, saying he never could do something great with himself.