Rap and Hip-Hop Music

this album is as good as it gets!!! you cant go wrong with classic Mobb Deep...its an easy reminder of how good Hip-Hop used to be....this album is on heavy rotation in my car!!!

What is sometimes recognized as their first LP, sophmore release The Infamous brought a grittier East Coast feel for its time. Perfectly titled "The Start Of Your Ending (41st Side)" to lead the album off with a simple track accompanied by sound effects to add to the thugged lyrical assault by the duo. Simple deep piano chords with uptempo hard kicks synchronized the street mentality attitude for "Survival Of The Fittest". Slowing down with a dark, deeper mystique of "Eye For A Eye (Your Beef Is Mine)" featuring Nas & Raekwon collaborated to enlighten on the retaliation as does "Right Back At You" featuring Ghostface Killer, Raekwon & Big Noyd goes for a reapeat over looping bass guitar and decending chords. "[Just Step Prelude] " is an accapella interlude with verses from Big Noyd and Prodigy added to the concept and the lifestyle of the Mobb. The upbeat "Give Up The Goods (Just Step)" featuring Big Noyd is a great addition with layered arrangement with violent crime content "...brothers are starvin' from tryin' to find a job / son, its all about robbin'..." "Temperature's Rising" featuring Crystal Johnson is one of the mainstream attemps with a hint of a bounce smoothed out as Mobb Deep kept their street formula. Staying on the same tempo but switching gears on "Up North Trip" as they give tales of going to jail. "Trife Life" shows the street mentality of keeping your eyes on your enemies and being aware of a set up or robbery. Representing their homeground Queensbridge on "Q.U.-Hectic" over simple production arrangement. Highlighted by deep bass on "Cradle To The Grave" is a canvas for the stories told of survival. The jazz influenced "Drink Away The Pain (Situations)" featuring Q-Tip by the horn arrangement as they exchanged liquor for women as the yin-yang combination meshed well. The classic "Shook Ones Pt. II" is a near East Coast anthem with delivery, off-key patterns also provided quotables. Three of the sixteen was produced by The Abstract a.k.a. Q-Tip as the remainder was produced by the group showing how the acronym k-i-s-s (keep it simple stupid) worked perfectly as a signature sound and style. Mobb Deep's performance and overall concept of The Infamous is a hip-hop/rap classic and essential for any collection of for this genre.

It really is; I don't think anything can top this album. The lyricism, and flows are exuberant and the production is HAUNTING. If you want an album that portrays the hardships of life in the City, there's nothing better to go to than "The Infamous" by Mobb Deep. If you listen to this album, it's almost unbelievable to think that this is the same Mobb Deep that's currently in G-Unit. The same Mobb Deep that now makes commercial, club-themed anthems. But back then, they were so different. So real, so hardcore, so raw. Listening to this album gives me such extreme visuals; you'll feel like you're in the midst of the street-poetry that Prodigy and Havoc display all throughout. I could go through the tracks...Survival of the Fittest (personal favorite), Eye For a Eye, The Start of Your Ending, Right Back at You, Give It Up Fast...but why bother? Pretty much every song is incredible. This album is beyond a masterpiece. This album is perfection...

Mobb Deep's 2nd album is hands down an essential to the East Coast hip-hop scene. Havoc and Prodigy both had excellent flow and lyrical content that tells some bitter stories, and the background beats are some of the most original and dark beats to ever grace the hip-hop scene. Each track, even the preludes, holds its own and stands out well. An album to not be avoided.

Though, as we've all found out, Prodigy and Havoc have been less than honest about their backgrounds (big suprise for post-1992 rappers) this somehow, miraculously actually, remains one of the most honest and introspective rap albums ever produced.

The real genius of Mobb Deep in my opinion is that they don't demand to be understood, they don't beg for sympathy, they don't pretend to put out a message that is any different then what they're actually putting out. Give them credit for that at least because if nothing else they're one of the few rap groups, shoot, one of a handfull of ENTERTAINERS PERIOD, that don't try and pass off what is truthfully extremely vile material as a cry for help.

You see the infinite danger inherent in a Tupac album is that it's a ganster rap album in every sense of the word but it's masquerading as something else. It's dangerous because the public is prone to accept practically anything that is marketed to them correctly. More precisely though, its dangerous because it pretends to be genuine social criticism, it pretends to be sincere, it pretends to be sensitive. Sure that's repulsively dishonest, but really when you get down to the bottom of it it's downright pathological. But then again that's how deeply socialism has infected the culture, when a guy can put out an album about killing innocent people and not only receive applause for it, but also demand to be seen as a sensitive, intelligent and compasionate individual as well. (I just love the superficiality of Tupac's videos what with him begging the camera to love him and the unexplained babies popping up all over the place among other things.)

Tupac and most of the rest are champions, poster children if you will, of the "product-of-my-environment" culture of responsibility to no one that is today's new orthodoxy, not just for blacks, not just for the inner-city, not just for the poor, but for everyone. However offended you might be by Mobb Deep they never contributed to the current state of things and for that I will always love them.

Just look at the way they act. Even though their music has become utter trash for the most part since 2001 they haven't lost sight of their mission. They're a group that just begs for you to hate them and I don't necessarily have a problem with that because that type of behavior can be contained, isolated and prevented from infecting the rest of the populace.

As for the album it is quite incredible. Some of this stuff should be able to appeal to everyone but to be truthful there is quite alot on here that probably isn't going to be too intriguing for anyone that is not a sincere fan of rap music. Nobody was sampling like Havoc was in the mid-90's, not RZA, not nobody. These are some of the freshest and most original samples you will find on any rap album. This was made back when New York City still had that dark underbelly, before Giulliani came in and ruined it all by turning it into a densely populated version of Disney Land. "Cradle to the Grave" is a wonderfully erie song that reflects that time period and that state of mind. I honestly think this is better in many ways then the better known material released by Wu, Nas, etc.

Me personally? I'm torn as to whether records like these make me a terrible (or a progressively worse) person for listening to them. I trust myself enough to listen to it responsibly though the possibility exists that I could be extremely wrong on this. Not extremely wrong about listening to JUST Mobb Deep, but wrong for not sealing myself off in a storm bunker to try to insulate myself from the culture of trash that WE ALL live in.

Either way this entire album is able to transcend the usual cliches of rap and pop music in an original way. However miniscule an accomplishment that may be it is still an accomplishment.

This double CD by R. Kelly is probably the most complete CD in his discography. He successfully combines Hip Hop, Contemporary R&B, Soul, Gospel, and Adult Contemporary, but never mangaes to sound like he copying someone. His sound is all his own. From "When A Woman's Fed Up," to "Home Alone," to "I'm Your Angel," to the fantastic, soul stirring "If I Could Turn Back the Hands of Time," the Pied Piper of R&B just keeps cementing his Legend!

Some of the cuts on this cd are absolutely great. I especially like the duet with Celine Dion and of course I Can Fly is a favorite. Some of the other cuts I just skip over due to the content. R Kelly has a beautiful voice and doesn't need to sing junk.

R Kelley really hit a home run with this one all tracks are good!!! A must have CD

This was the album that launched the man we now call, The King Of R&B, into that category. This album was the album where they rolled out the red carpet for him to the grammys and said, "Congratulations, u are now part of the R&B Kingdom". Before R., R Kelly was good, but he still wasnt a super star, or considered the best. But, after this legendary double disc, and a pair of grammys, he started to be reffered as the King of R&B. And to this day he still is called that, because he is untouchable. But the thing that really helped this album,... was Space Jam lol! That movie was a huge hit, and R. Kelly had a song on that soundtrack called "I Believe I Can Fly" which is now know around the world as one of the most uplifting R&B songs ever created. That song and movie alone ushered him into superstardom. Everyone and their mom knows IBICF. And then two years after that movie, he released R. And it was a huge album. Its not flawless, but it is very strong. Of the 29 songs, i would say your probably gonna get at least 10-15 you will like. This was still while R&B, was true R&B. "If I'm Wit You" is a mid tempo love song where Kells tells his woman, hes all she needs. Then there is the great summer track "Only The Loot Can Make Me Happy" which is just so laid back, its one of those feel good tracks that you will find yourself singing hours after you listened to it. Then there is the more futuristic club song "VIP" where R. Kelly croons over a sampled mid tempo beat. I mean, like i said this album is not flawless, but it is definetly worth buying and its one of the best offerings Kells has. A great classic album!


Grade:
B+

4 years after what is probably his best work to date. R Kelly dropped this double album release in 1998. The problem with this double album is the problem with most double albums: some songs are just filler or one disc is better than the other. Dont get me wrong, this album has plenty of great tracks but there are filler on this album that should have been shaved off. The problematic disc is Disc 2.

Disc 1: The best of both discs. I cant recall a song that I skip on here. Home Alone feat Keith Murray was a dope party jam. Spendin Money, If I'm Wit You and Only Loot Can Make Me Happy are good as well. R Kelly always excels at the slow songs so tracks Half On A Baby, Get Up On A Room, If I Could Turn Back The Hands Of Time and Etcetera are his bread and butter. R Kelly makes songs that the ladies can relate to with the excellent One Man and When A Woman's Fed Up. R Kelly vents his rage in What I Feel/Issues. This disc is more rotational than the second disc and gives this double album some replay value.

Disc 2: The lesser of both discs. I'll start by mentioning the positive aspects of this disc. Reality, Down Low Double Life, Looking For Love and Dancing With A Rich Man are pretty good tracks and showcase R Kelly's genius. I Believe I Can Fly and I'm Your Angel feat Celine Dion are beautiful songs and the fact that the latter made an awesomely bad list by some corny ragazine that would never nominate an Eminem track much less a Shady Records artist track is questionable to say the least.
You know you suck when your favoritism wont allow you to see that Eminem and the whole Shady Records roster made plenty of awesomely bad records.
At any rate the few songs I mentioned are the only songs on this album worth talking about. The ludicrous amounts of filler make Disc 2 unbearable. The Chase, V.I.P, Did You Ever Think, 2nd Kelly and Money Makes The World Go Round feat Nas are prime examples of that statement. Ghetto Queen feat Crucial Conflict is one of the worst R&B/rap collaborations of all time. R Kelly couldnt have been that vainglorious to have thought that that track was a good idea. Dollar Bill features boring rhymes from R Kelly and Foxy Brown. Despite these obvious flaws R Kelly's double album is still a noteworthy release from an artist that showed you his true genius time and time again before all his troubles caused him to make sloppy music.

Standouts on Disc 1: HOME ALONE, SPENDIN MONEY, IF I'M WIT YOU, HALF ON A BABY, WHEN A WOMAN'S FED UP, GET UP ON A ROOM, SUICIDE, IF I COULD TURN BACK THE HANDS OF TIME and ETCETERA.

Standouts on Disc 2: REALITY, DOWN LOW DOUBLE LIFE, LOOKING FOR LOVE, DANCING WITH A RICH MAN, I'M YOU ANGEL and I BELIEVE I CAN FLY.

This is offensive music, so don't play it around grandma, but for fans of nasty hip-hop this is perfect. It can be a little whiny/emo but the more upbeat songs more than make up for this.

This album has a lot of energy. I listened to it while doing yard work, made the chore go by quickly.

I was introduced to Mickey by a friend, and I can honestly say it was the best suggestion anyone has given me in years. Although rap isn't really my cup of tea, the raw lyrics and mix of Hollywood pop culture really captivate the listener. If your looking for super catchy tunes by a guy who used to be a gay prostitute, this is the CD for you. Truthfully, I recommend it 100%. Do yourself a favor and purchase this LP.

I'm not even a big fan of hip hop, but I really like Mickey Avalon. He's got such a unique and fresh style. Totally offensive and raunchy lyrics, but totally hilarious too. Love it.

I RECENTLY FOUND MY SELF TRYING TO FIND OUT WHO THAT WEIRD WHITE GUY FROM THE BOOST MOBILE COMMERCIAL WAS, THIS SEARCH LED ME TO MICKEY AVALON.
SO FAR SO AMAZING, LOVE ALL HES SONGS, PERSONALY A RECOMMEND "Mr. Right" AND "Waiting to die" HES LYK PRINCE EXEPT HE RAPS AND IS NOT THE MASTER OF FUNK. LOL. BUT SERIOUSLY CHECK HIM OUT IF UR INTO ORIGINALITY AND UNIQUENESS THIS IS UR KIND OF MAN..

This is a great album all the songs are good, and for this price 3.99 you can't beat the price.

this cd is very good not only is he cute but the music is good he has a sweet voice.

I absolutely love this cd and its in constant rotation in my car. One of the only cd's that you can listen from beginning to end without skipping to the singles. I can't wait for his new one.

i never got what i ordered its been a month. it was only my second time using amazon and now i hate it!

This is one of the best albums I have heard in a while. Not many albums are that good nowadays and htis happens to have many good songs on it. The beats are great and he's also very lyrical. If you haven't heard Trey Songz, give him a try.

I remember when Trey debuted a few years ago. His first ever single, "Gotta Make It," was sincere and it impressed me a lot. There was a good amount of hype surrounding him, with some claiming that he (along with Keyshia Cole) was the future of R&B. Even Aretha Franklin hopped on to make a cameo on his album. Needless to say, I bought his debut the day of its release and wasn't moved at all. Maybe I should give it another listen now, but at the time it was a very underwhelming effort to me and it also sounded way too much like R. Kelly, who Trey cites as his only true influence in the rhythm and blues genre. After such a disappointment, I refused to ever buy another one of his albums. Quite honestly, after his weak sales numbers, I didn't even think such a day would come for a sophomore release from Songz. So when Trey came out of nowhere with a load of self-promoting YouTube clips, claiming that his album was highly anticipated--and for good reason--I was not the least bit amused. However, I could not deny that I was digging the dark and slightly experimental, Danja-produced "Wonder Woman." Then came the equally likeable subsequent singles, "Last Time" and "Can't Help But Wait." After the addictive Stargate-produced "Missin' You," I could no longer fight the temptation to buy this album. Overall, I am very pleased with my choice. It really sounds like Trey has found his identity on this go-around, excluding the R. Kelly-penned "Grub On." The album is mostly composed of R&B songs injected with some extra hip-hop flavor and swagger; I am quite the sucker for this formula. It's usually nothing groundbreaking, but it's definitely enjoyable. The bouncy and synth-heavy "Long Gone Missin'" is the epitome of this theme and is my hands-down favorite off the album. "Fly Together," produced by Trey himself, is an impressive accomplishment for a generally new artist. "We Should Be" is another highlight; with the help of Jimmy Jam and Terry Lewis, he delivers the perfect soulful ballad for an album closer. Honestly, there were only two out of the thirteen tracks that I did not like. "Role Play" is a bit lame to me and "Grub On" is full of clumsy lyrics. Overall, I am pleasantly surprised with Trey Day. It really is a great sophomore album.

Great album. Not as original as 3 feet high, or De la soul is dead, but it really stands the test of time. Love it.

From the first time I heard it I knew it was one of the best cd's EVER made, and now some 12 years later, I still feel the same way about it. I put it up there on the same level as Public Enemy's "It Takes A Nation...", Common's "Like Water For Chocolate", Ice Cube's "Death Certificate", Mos Def & Talib Kweli "Are Black Star", Dr. Dre's "The Chronic", And Outkast's "Aquemini". I wish De La Soul would get the credit they truly deserve!!!!!

Great alternative to other 96 joints like All eyes on me and Reasonable Doubt. De La delivers as usual. Peace to the Plugs!

Top Joints:
Stake is High
4 More
Dinninit
Itsowezee
Supa Emcees

It is a strange fluke to be reviewing back to back De La Soul records and awarding them the allustrious 5 stars. Perhaps no other group has exemplified the longevity, quality, respect, intelligence, and playfullness like only De La can do. With their fourth album, they made some major changes (only because the times were changing so quickly). Prince Paul was absent for the first time in their career, the beats sound more lively and raw, they play the samples then then play them on light keyboards with hard drums...and their lyricism is absolutely MINDBLOWING AS EVER! My review of the Group Homes "Living Proof" stands by my opinion that it is the essential album for any hip hop producer. However, if you asked me what is essential for any aspiring lyricist; then "Stakes Is High" is it. Posdunous and Trugoy juggle their syntax, craft witty metaphors that stays on beat (while outshining them), and their language is so rich in imagery that the lyrics reveals something new with each listen. If you thought that their rhyme patterns were complex on earlier records, then you haven't heard nothing yet.

The albums "Intro", preceded by a skit, is not your typical skip material. After paying homage to the pioneering Boogie Down Productions, the lyrical onslaught begins. Posdunous rhymes, "A fresh linen scent so sniffer on the two-inch/ A talker of the berg without we-- influence/ So stick to you Naughty by Natures and your Kane/ 'Cause graffiti that I based upon the wax is insane". Apparently, the line was a show of respect to the aforementioned artists but the complexity was taken out of context and sparked a short beef between Treach and Posdunous. "Supa Emcess" follows and is unquestionably a superb single. The play on words are timeless especially when Posdunous spits, "Within this program of rap, I'll eradicate the glitches/ Yo I'm dark like Wesley, but I be sparkin more bitc---/and to them my constellation put your lives in jep/ While you others represent, I present my rep". The album just doesn't let up because the next song is "The Bizness". Another excellent single and once again the song is so lyrical that you can't help but say DAMN! Common is freakin' flows for the fun of it and as bold a statement this is, it is my personal favorite verse from him (including anything on "Resurrection"). "Wonce Again Long Island" and "Dinninit" follow and continues to blow me away. If the former doesn't make you look at degradation of women in hip hop in a different way then your a lost cause. Posdnous rhymes, "R&B nig--- lie to mother, sister, and daughter/ to have sex disguised as lovin in the rain/ Their words are more hollow than October 31st/ what's worse, hate to see the/ females switch to sexual mentality/ it doesn't match with they given anatomy/ Man they rather be ho'z like that male emcee/Who walk around like they got nutz/ And use they titz and azz like a crutch/ Man the underground's about not bein exposed/ So you better take your naked azz and put on some clothes/".


Truthfully, it is hard to quote certain lines here and there because it just doesn't do this record justice. Any verse could have been featured smack dab on the Source Magazines Quotable page. On top of that, if you think Prince Pauls influence is void on "Stakes Is High", then you are sorely mistaken. Being around Prince Paul, De La Soul has obviously learned from his genius and they have injected their own madness here. Telephone buttons ring to the mellow groove of "4 More", a short skit combating Country Musics ignorance towards rap music appears at the end of "Long Island Degrees" and the soul samples are extremely tight and layered by mixmaster Tim Latham in startling peak form. One of the tightest beats has to be "Big Brother Beat" featuring a young and hungry Mos Def. Since the album is so lyrical, Mos Def decides to flip Rakim lines just to keep pace with Posdunous and Trugoys 'Attack of the adverbial nouns'. I could talk about each song for days because there is so much standout material. However, the title track is one of hip hop musics underappreciated masterpieces. If you ever had a doubt in your mind that award shows are nothing but a popularity contest and are quite meaningless then this will erase those doubts. Trugoy spits, "I'm sick of bitc--- shakin' as---/I'm sick of talkin' about bluntz/ Sick of Versace glasses/ Sick of slang/ Sick of half-azz awards shows/ Sick of name brand clothes/ Sick of R&B bit---- over bullsh-- tracks Cocaine and crack/ Which brings sickness to blacks/ Sick of swoll' head rappers With their sicker-than raps/ Clappers and gats Makin' the whole sick world collapse".

In conclusion, "Stakes Is High" raises the bar of lyricism so cruelly high that NO emcee has stepped to it since. Contrary to many previous reviewers, I believe De La Soul took a huge step forward musically. They experimented with their own basslines (filtered them brilliantly with hi-tech studio equipment), sampled then played the samples on keyboards to inject more life in the sound, and they brought in the late Jay Dee (R.I.P.) to produce some cuts, whose hard drums and smooth sounds would be emulated over and over again. The album that you needed yesterday, "Stakes is High" will forever remain a benchmark in artistic growth, musicianship, and a dangerous display of euphemism, slang, and metaphor. Beats and rhymes like you will never hear again!

I had a hard time connecting with this album, no matter how many times I played it. I find De La Soul to be one of the best groups in the hip hop game. Don't get me wrong, this album is enjoyable from time to time, but this just didn't hit like other De La Soul albums that I've heard. People say that this trio reached their peak with this album, and I disagree. The problems that I had with their fourth album "Stakes Is High" was the obvious absence of Prince Paul and their jump from psychedellic hip hop (3 Feet High and Rising and De La Soul Is Dead) to hardcore hip hop, which is shown on this album. No more songs like "A Rollerskating Jam..." which made them seem fun to listen to, to songs like "Supa Emcees" where that (and a lot of other songs i.e. "Itzsoweezee (Hot)") sounds forced. For some odd reason I find that De La Soul was trying too hard this album, mostly with their "Anti-Commercial Rap" songs.

Now production. I believed everybody was dissapointed that Prince Paul was not behind the boards on this album, but mostly De La Soul along with Spearhead X, Ogee, Skeff Amslem, and Jay-Dee who co-produced the excellent song "Stakes Is High". Most of the other produces to include De La Soul do a good job pulling thier weight throughout this album.

Now don't get me wrong. This is a very good album, but not perfect like a lot of reviewers are saying (seeing the average is 5 stars...bring on the negative votes...). In my opinion, I just find it unbalanced. But hey, don't take my word for it, listen to the album yourself, because you might like it better than I do. "Stakes Is High" to me is like A Tribe Called Quest's "Beats, Rhymes, and Life".

Lyrics: B
Production: B
Guest Appearances: B+
Musical Vibes: B
Overall: B

Favorite Tracks: The Bizness, Wonce Again Long Island, Brakes, Betta Listen, 4 More, Stakes Is High

Honorable Mention Track: Supa Emcees

Favorite De La Soul Albums:
1. De La Soul Is Dead
2. 3 Feet High And Rising
3. AOI: Mosaic Thump
4. AOI: Bionix
5. Stakes Is High

Haven't heard:
The Grind Date
The Impossible Mission
Buhloone Mindstate (which might be important to why I didn't connect with this album very much)

Peace Everyone!!!

THe album is great, Ive been wanting it for a long time. My only complaint and reason for the missing star is because the download card that came with it didn't work.

Company Flow's 1997 debut "Funcrusher Plus" is a landmark album in a number of ways. It was the first release from the influential Rawkus Records, it introduced three men who would soon be forces in underground hip hop, and it opened the door for a new wave of alternative rap. Rapper Big Juss, MC/producer El-P, and DJ Mr. Len are an artistic group that made forward-thinking hip hop. "Funcrusher Plus" is an interesting album, a collection of music recorded over a four-year period. Both rappers are impressive, delivering a mix of abstract battle rhymes and futuristic stories and imagery. Some of the songs profile an apocalyptic future of robots and corruption. Big Juss and El-P are talented rappers, and they have funny punchlines, clever pop culture references, and very creative lyrical concepts.

My problem with "Funcrusher Plus" is that, in their effort to be "independent as f---," Co-Flow sacrifices a certain level of appeal, coming across to this reviewer as too artistic for its own good. El-P is a good producer, but most of his beats here are sparse, rigid, and mechanical. The songs are unstructured and most don't have hooks, and for the most part, the album tries to be so experimental that it borders on inaccessible. In fact, the best songs, "Vital Nerve" and "Krazy Kings," have a more conventional song structure without sacrificing the futuristic sound and conceptual lyrics. These songs are especially impressive from an artistic level, and they are also fun rap songs to listen to. Other highlights include "8 Steps to Perfection" and the interludes "Lune TNS" and "89.9 Detrimental."

I love underground hip hop, and I appreciate "Funcrusher Plus" as a triumph in hip hop as an art. They did something unlike anything else and pushed the boundaries of the genre where they hadn't been pushed before. But, however great a piece of art "Funcrusher Plus" is, that doesn't necessarily make it fun to listen to all the time. It's far too long for a comprehensive listen, and is at times tedious.

"Funcrusher Plus" is impressive artistically, but in my opinion, that doesn't make it totally enjoyable. While there are some really great songs and El-P and Big Juss turn in some great performances, the disc lacks the musical and structural appeal of a great rap LP. Other hip hop concept albums with a similar futuristic concept, such as The Future Is Now, Deltron 3030, and Dr. Octagonecologyst, are abstractly creative and experimental, but are also really fun to listen to. "Funcrusher Plus" is definitely a good album from that aspect, but if looking for an album of that nature, I'd recommend the previously mentioned before this one.

Company Flow's 1997 debut "Funcrusher Plus" is a landmark album in a number of ways. It was the first release from the influential Rawkus Records, it introduced three men who would soon be forces in underground hip hop, and it opened the door for a new wave of alternative rap. Rapper Big Juss, MC/producer El-P, and DJ Mr. Len are an artistic group that made forward-thinking hip hop. "Funcrusher Plus" is an interesting album, a collection of music recorded over a four-year period. Both rappers are impressive, delivering a mix of abstract battle rhymes and futuristic stories and imagery. Some of the songs profile an apocalyptic future of robots and corruption. Big Juss and El-P are talented rappers, and they have funny punchlines, clever pop culture references, and very creative lyrical concepts.

My problem with "Funcrusher Plus" is that, in their effort to be "independent as f---," Co-Flow sacrifices a certain level of appeal, coming across to this reviewer as too artistic for its own good. El-P is a good producer, but most of his beats here are sparse, rigid, and mechanical. The songs are unstructured and most don't have hooks, and for the most part, the album tries to be so experimental that it borders on inaccessible. In fact, the best songs, "Vital Nerve" and "Krazy Kings," have a more conventional song structure without sacrificing the futuristic sound and conceptual lyrics. These songs are especially impressive from an artistic level, and they are also fun rap songs to listen to. Other highlights include "8 Steps to Perfection" and the interludes "Lune TNS" and "89.9 Detrimental."

I love underground hip hop, and I appreciate "Funcrusher Plus" as a triumph in hip hop as an art. They did something unlike anything else and pushed the boundaries of the genre where they hadn't been pushed before. But, however great a piece of art "Funcrusher Plus" is, that doesn't necessarily make it fun to listen to all the time. It's far too long for a comprehensive listen, and is at times tedious.

"Funcrusher Plus" is impressive artistically, but in my opinion, that doesn't make it totally enjoyable. While there are some really great songs and El-P and Big Juss turn in some great performances, the disc lacks the musical and structural appeal of a great rap LP. Other hip hop concept albums with a similar futuristic concept, such as The Future Is Now, Deltron 3030, and Dr. Octagonecologyst, are abstractly creative and experimental, but are also really fun to listen to. "Funcrusher Plus" is definitely a good album from that aspect, but if looking for an album of that nature, I'd recommend the previously mentioned before this one.

WELL IF YOU READ THIS AND DNT HAVE THIS CD THEN YOU SLEPT ON IT , CD HARD TO FIND INDI CLASSICK NUFF SAID !

everytime that i hear this album, which is CLASSIC MATERIAL, i ask the question, WHY THE HELL DID THEY BREAK UP!!!! this album is in its own category. i have not heard anything like it since. i just close my eyes and just chill out to this. i forget where i am, ya know. this is what i call an ANTIALBUM. they were disgusted about the "self celebratory" stuff that was coming out at the time. so FUNCRUSHER PLUS was like their lil ANTITHING. that in itself makes me love it even more because it got to the point where i did not like it either!!!!

The concept was great, the performance by both the Beastie Boys & Mix Master Mike was awesome AND my performance made this movie worth 5 stars. I am the original "I want two Beers" guy and I can be seen at about 37 minutes into the film during the first instrumental. The only thing I want to know is WHERE IS MY ROYALITY CHECK ???
SOLEY BKLYN NY !!!

I love, love, love, this dvd! I am simply amazed that I'd never seen or heard of a concept like this to shoot a live concert performance. If you do not know what I mean, then read the promo about what this dvd is all about. If you like the Beastie Boys or if you know someone who does, then this dvd is sure to please!

***MINOR SPOILER ALERTS FOLLOW***

I'm not sure why anyone would give this lees than 5 stars. I've read the reveiws of those who did, and I just don't see it.

If you know anything about this DVD, it was shot by people in the stands....ummm, therefore: no, this is not professional camera operators. THAT'S THE WHOLE POINT!!! In fact, there is a point where one of the guys goes to the bathroom and takes the camera with him. Since these are just regular joes, it is a little shakey, but what do you expect?

The edits are a bit quick, but that keeps it interesting (especially the cut to the guys that snuck back stage). I think the added effects to the show make it cool, like how during "Whatcha Want" the colors polarities are reversed just like in the video.

I like the premise of this show, because it gives depth to the audience. In so many live shows when they show the audience, it gives this feeling of some endless mass of people. This DVD actually puts a face to the fans and much of the flavor comes from the folks in the stands. It kind of gives you the feeling that you're sitting next to these people, instead of being some robotic camera hanging from a line.

Actually, this show is less about the Beatie Boys and more about the fans watching their concert.

THE BOTTOM LINE IS: the selling points of this DVD are the same things people are comlaining about. This DVD puts you in the pits, in the dirty stands, and next to the drunks pushing and yelling. Between the intense point of veiw of the bleechers and the safe, steral, robotic veiw from a professional cameraman....I'll take the former any day of the week.

Glad I caught this garbage on VH1 before I shelled out any $$. Watching this jittery unprofessional video gave me nausea. Was it too much to ask that the ONLY good live video footage we may EVER have of this great band be of good quality? Guess not. I could never sit through this again - thanks for nothin 'boys.

Lets start with the good: This is a very cool concert DVD. I love the whole feeling of it, it really feels like "an authorized bootleg" as the Boys have billed it to be. It shows them at their live best. There are some amazing performances on this disc.
Now on to the bad: Although the concept of letting the fans shoot it is very cool and enjoyable, the editing could have used some work. It jumps from shot to shot every few seconds. Also, there are too many weird effects thrown in that give it less of a feeling that you were there. Also, the setlist could have been better. The 3 instrumentals right in the middle of the concert seem to slow it down and make it tedious. They could have used those 3 songs to play some more of their hits, such as Fight For Your Right or Hey Ladies (which are strangely missing from this otherwise-complete setlist).
Overall: This is definetly worth a purchase.

Wow!!!!!!!!!!! Not since ummmmmmmmmmmmmmmmmmm ever have i heard a debut album this good to include: Illmatic, Revolutionary Vol. 1, Resonalbe doubt, Doggystyle etc. Since i heard lupe on late registration i was amazed. His usage of metaphors and similes are outstaning for someone being soo young in the game. True hip hop fans will love this kid. Some ppl say that he is corny and makes songs about skateboarding and a box when these songs are merely explaing the struggle of the inner city community and how you must always prevail and how t.v. is destroying our youth. Every song is a good song and he is not to prechy . By far one of the illest new kats to the game. Once you listen to the album listen to it again to try to understand some of the content 'cause it is serious.

I am in love with this album...every track is so well done! You must listen!

Lupe is the new messiah of rap. His lyrics are damn near godly. Get this album as soon as u can and help support Lupe.

I love every song on this cd. This is the best cd that I have purchased and heard in a long time. It is nice to finally hear someone rap about actual things going on in the world. I plan to buy the rest of Lupe Fiasco's cd ASAP. Do yourself and favor and buy this cd.

This is definitely in my top 5 rap albums ever. The entire cd is solid all way through. Lupe's lyricism, wordplay, and storytelling make me listen to this album over and over, which is something I usually can't do with a cd. Although I gave the album 5 stars, there were a few things I didn't like, which don't affect the rating much: the intro track would've been cooler with a verse, and I didn't care for the American Terrorist song much. I can see why people would like that song, though, it's just not my kind of song. Also, the outro track is tiring; it's cool if you knew Lupe and you are listening to hear him shout your name, but otherwise, this last track is just skippable - or just don't put it on your iPod to save space. Otherwise, the other 13 tracks are perfection to me.

Excellent album.

I have owned this soundrack for a Long time.. Its always great to listen to. Some of the songs are a little different such as the Bob Dylan and Leonard Cohen songs for this movie's targeted audience but, they are really a great mix. Just go and argue with Trent Reznor (the producer) if you dont like it.

Natural Born KIllers was this movie that I always found to be intriguing, but I was never really sure if I actually LIKED or not. I've seen various different cuts of it and whatnot, etc. Yada yada...

THE SOUNDTRACK on the other hand, is an instant classic, made up of a nice selection of music that shares the same vibe and emotion of the movie:dark, angry, and original... also it's very good. I think just thr right songs were used in this film, ranging from some classic songwriters, some classic songs, and some classic songs as covered by some good indie names that some of your more unconventional music fans would no doubt dub classic. Also, as a lot of the audio clips from the movie are spliced in a long the mix, in pretty clever ways, you get a pretty good essence of the story too, as you listen... oooooooooh. So lets observe a little.

The Leonard Cohen songs are a little creepy. Pretty much bookends the mix, sans some Dogg Pound tracks at the end (yeah, Snoop 94 style, when his stuff was still fresh and clever) L7, Patti Smith, and The Cowboy Junkies add in some good female indie and/or punk slabs, Bob Dylans on here, sounding horse and old, and a little tired, but still good. YOU BELONG TO ME was a key song in the film.
Then theres the likes of NIN and JANES ADDICTION to PETER GABRIEL to PATSY CLINE on some tracks, but some of my faves come from artists I never heard outside this mix. The ragged country feel of Duane Eddys THE TREMBLER, The Hollywood Persuaders DRUMS A GO-GO, Lard...FORKBOY, and much much more (theres nearly thirty tracks in total here) varied all over the map, but with a very unique flow. This album may make you want to lay on the floor and stare blankly at the ceiling, but its still very well done. 5 stars. Soundtracks are a hard market to pull off, but this one can be listened to start to finish and is a good listen.

I have to say that this soundtrack is timless and will stay as a landmark in soundtracks for decades to come. Can't list all the great tracks here, Dylan's You be long to me, or Patsy Cline's Back in Baby's arms, Leonard Cohen.... or the more 'violent' tracks.. there are tracks for every taste, and every mood. and of course the soundtrack is a must for this movie lovers as it recalls every great scene as you listen to it. This soundtrack along with Pulp Fiction are a must in every 'soundtrack' section. its a genius blend of different songs from different eras and different styles.

...but it was much cooler in 1994, that's for sure. What seemed haunting and beautiful then, is kind of cheesy in 2007, especially now that most of the artists have gone even further mainstream (Nine Inch Nails) or totally vanished (L7). "Sweet Jane" by Cowboy Junkies is one that has not faded at all, though...gives me chills!

Beyond the worth (or lack of it, depending on your opinion) of the movie, this soundtrack stand the test of time and is still in 2006 one of the most impressive soundtrack ever produced.

It is, in my very humble opinion, the finest work in Trent Reznor discography.