Madvillainy 2

The Madlib Remix

(Stones Throw, 2008)

Anything positive one reads about Madlib (née Otis Jackson, Jr.) is true. The samples he secures for each release are assuredly vital as well as previously unearthed. His prowess seems to have become mythical – perhaps that’s too much, but it’s difficult to find genuine criticism of the man and his work. The Madlib Remix may catch some flack, but its purpose is to hold listeners over until Doom re-surfaces with a slate of nuanced and hilarious rhymes to match Madlib’s samples for the proper follow up to Madvillainy (2004). The Remixes though reapply Doom’s raps from that first offering to new Madlib musical constructions. As in the past, it works. Of course, since the lyrical content is familiar, the music that Doom’s voice was previously set to could be missed if not for the always substantial beats from his partner.

Considering that this isn’t actually a new release, one may assume that no new statement (assuming that there was an old one) is to be made here. And maybe there’s not, but lyrically there’re considerations of the past, present and future – which is kinda funny considering listeners have been waiting for a future release predicated on previous work.

Oh No

Exodus into Unheard Rhythms

(Stones Throw, 2006)

During the ‘90s when Lootpack was around, Wildchild christened Madlib’s younger brother “Oh No the Mischievous Rebel.” Now, he’s simply Oh No and has put out Exodus into Unheard Rhythms, his second full length release on Stones Throw Records. Stones Throw easily sits atop the pile of indie rap labels. And interestingly enough, Madlib has seen fit to reissue some rare discs as well.

Oh No’s release, although forward thinking in concept (he uses only the music created by Canadian Galt MacDermot of Hair fame), the album boasts a number of moments where a different path could have been taken.

The beats are unrelentingly pleasant throughout. The raps, however, aren’t always as exceptional. The inclusion of AG and the Cali Agents does make sense considering the locale of both label and rappers (AG recently recording his own discs on the left coast). But the album would be better served if more rappers in the vein of Posdnuos, who guests on “Smile a Lil Bit,” made appearances.

Wordsworth, another East Coaster, reminisces while displaying his deft talent on a track entitled “Know Better,” during which he recounts his years of mischief. Towards the end of Exodus, “Basement Interlude” appears and immediately signals why this album is not all that it could be. If one judged simply this track, it would be quite evident that Oh No possesses the ability to create beats that are entrancing. He just doesn’t harness that power. Instead Oh No allows a number of average raps (not rappers) drag down what could have been an incredible, instrumental album.