Monday Grooves 12/16/13


Cold ass raps, cold ass weather

Cold ass raps, cold ass weather

It’s nice to finally be back in the groove of writing on here.  Now, just like me, it’s time to get you back in the groove.  Monday grooves.  Word.

(That was cheesy, but hey.  I couldn’t resist)

1. Marco Polo & Ruste Juxx – Fuckin’ Wit a Gangsta

“Jigga payin Dwyane, I’m paying Gilbert Arenas”

Man, It’s hard to catch Sean Price on a track not killing it.  The O.G. is and always has been completely hilarious with dope bars to bring along.

I am a big fan of Marco Polo’s music, and I pretty much have been since I first heard his Port Authority album.  His grimy New York style is reminiscent of a DJ Premier beat.  Naturally, Ruste Juxx fits perfectly.  The Crown Heights resident has been grimy since the beginning, spitting hard-hitting lyrics about street life in New York city.

Marco’s boom-bap stylings aid the perfect head-nodding atmosphere, making The Exxecution one of the best Hip-Hop albums of 2010.  “Fuckin’ Wit a Gangsta” is the highlight of the project, with a fantastic (as expected) Sean Price feature.


2. Fashawn – The Beginning

Fashawn has been doing this whole rap thing for quite some time now.  His work with Exile and his MPC on Boy Meets World is widely regarded as classic material.  This album put Fash on the scene.

It wasn’t because of his connections or catchy hooks, either (don’t get me wrong, he has both of those things). What really stuck out to people was plain and simple: the guy can plain rap.

With that being said, it’s been awhile since we’ve heard any solo Fashawn tracks.  His most recent work was with Murs, on This Generation.  That album was good, but it’s nice to hear that Fashawn is still getting it in with his classic style.  “The Beginning” is a fantastic teaser for his TBA upcoming album, The Ecology.


3. Elzhi – It Ain’t Hard to Tell

Remakes of classic albums usually don’t work.  Especially with albums that are considered timeless masterpieces.  The only thing is, Elzhi has just as intricate and complicated bars over revamped Ilmatic beats as Nas once had over the originals back in 1995.

I love the fact that Elzhi can compete with the best.  I also love that he represents Detroit.  We could not ask for better underground lyrical representation.

I strongly urge you to listen to Elmatic if you haven’t already, especially if you’re a fan of NasIllmatic.




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