El Da Sensai (we're going to refer to him as "El" from now on; that's a badass name, but I'm not typing it out again) is a stranger to me. Aside form his work on the two Artifacts albums, I've no idea as to what he's done or is up to nowadays. The real reason I came across this album is Tame One. Sadly, I don't know what the fuck he's he's doing now either, but his placement alongside the Weathermen and Def Jux was enough to gain my attention. I'll be upfront, the dudes gotten better with age. His work in the mid-2000's was some of the best rapping I've ever heard. I'm at the point of being a Tame One Stan, which means I had to check out the beginning of his catalog. That's just the way I am.
I have a great time calling artists "weed carriers", but that's the way most fans think towards the Artifacts. Because of Tame One's relationship with Redman, they popped up every now and then with Reggie Noble. The best analogy I could make is them being Group Home to Gang Starr. That already puts them at a disadvantage, but they were luckily placed with T-Ray during the production. Mostly known for his work with Cypress Hill, Ray's work behind the boards are what became the selling point to new listeners. Whatever the reason, the groups debut became a moderate success.
These paragraphs will improve after stunt week, but I'm fucking exhausted at this point...
1. Drama (Mortal Kombat Fatality)
Holy shit, that might be the best intro title I've seen in my entire life. It's a shame they didn't use it on a single or something. Anyways, this is noting more than a brief minute long instrumental that features some nice scratching. Could have been much worse but there's still not much to talk about.
2. C'mon Wit Da Git Down
Released as the lead single, this embodies everything that a hip hop single should sound like. The beat starts off slow and eerie but gradually develops into something head-bob-able. Artifacts knew damn well this shit wouldn't be getting any radio play so they made a single they way they wanted. That's really something that should have stuck during the evolution of rap, but I don't want this to turn into another article about what's wrong with today's music. Both rappers sound smooth and confident, making this an excellent way to kid the show off.
3. Wrong Side Of Da Tracks
Artifacts introduce their beloved topic of graffiti in the second single. (Was that a good idea Mr. Sequencer?) Unlike the last track, the instrumental goes for a jazzy feel, but still sounds dark enough. You might have a little trouble deciphering the slang, but this is no Big Jus song. You should be good. The hook was rather terrible, but I was more surprised at how loosely the word "fag" is thrown around. Am I offended? Hell no, but there's no way something like this would fly in 2013. None of that takes away from how good the song sounds.
4. Heavy Ammunition
Huge, huge props to T-Ray for his sampling here. The Erik Sermon sample fits in nicely to the dark bass, but serves as an even better companion to the energized voice of Reggie Noble. He also uses the same segment from a Company Flow song, which is always a good thing. Even though the instrumental sounds right at home, it's also more upbeat than anything we've heard thus far. Its a really nice way of keeping balance, while not completely ditching the albums sound. Another highly entertaining song.
5. Attack Of New Jeruzalem (Feat. Jay Burns Jaya)
Throughout his career, Tame One has made several references to Jerusalem, always spelled with a "z". Its cool to hear where all that originated, but I'm lost as to what it means. Anyways, I've never fully enjoyed this track and that's not changing today. The guest feature doesn't ruin the song, but it doesn't really help. The hook is fairly elementary as well. I'm a lyrics guy through and through, but hooks still matter. Oh well, I'm sure this would sounds better if it wasn't following the greatness displayed in the last three songs.
6. Notty Headed Niggahz
We're all familiar with hip hop and the particular slang the accompanies it, but I almost felt the brain cells dying off while typing out that last title. I'm obviously not listening to Artifacts for a grammar lesson, though, so I'll give it a pass. Both MC's come off incredibly funny, but I had no lasting memories. I did appreciate the energy Tame One brought to the table. Nothing beats a crazy ass delivery, which makes Tamer Dizzle so great.
7. Whayback
One of my favorite aspects of Between A Rock And A Hard Place is that it puts you right into 1994. The nostalgia brought here is why so many hold this album in high regard, but Artifacts wanted to take it a step further. They actually go for a mid eighties feel, which is all kinds of confusing to my brain. It's like some weird paradox that hurts just to think about. This album has been pretty straightforward rapping so far, but their decision to tackle a concept is brilliant. Entertaining as hell.
8. Flexi Wit Da Tech(Nique)
Around the first couple months of writing reviews, you may remember a very intense battle I had with auto-correct while listening to Black Moon's debut. I won that round, but it seems as though we've entered the second phase of this war. I started off strong, but incorrect spelling is making one hell of a comeback. I'll admit the title is clever, but I might be suffering a defeat. For the song, more of the same. No mind blowing lyrics, but both artists carry enough charisma that you hardly notice.
9. Cummun' Thru Ya F--kin' Block (Feat. Redman)
I've been rambling on about this for a while now, but typing out that title brought genuine sadness to my fingers. It may be the worst spelled title I've ever seen. The fact that they chose to spell "come" as "cum" is uncomfortable and I didn't randomly start censoring the word "fuck". That's just how it appears in the liner notes. Most depressing of all, Redman isn't really even on the song. Aside from halfway performing the hook, his contribution is almost unnoticeable. Reggie and Tame One may or may not be cousins, and I appreciate that he wanted his possible relative to shine, but this could have been so much more.
10. Lower Da Boom
Constant references of graffiti, grimy ass instrumentals, having a release date in 1994, a guest appearance from Reggie Noble himself; C'mon, you knew there would be a stoner song thrown in there sooner or later. The lyrics really aren't anything special, and don't differ from any weed rapper you'll find nowadays, (is that blasphemous to say?) but the beat is so damn good that you'll forget all about the negatives. The group gets there point across fairly quickly, though, and there's no reason this should have eclipsed the five minute mark.
11. What Goes On?
Another song where the group focuses on one topic. This time we learn about bitches, who don't think they should be called "bitches", but continue to commit "bitchy" moves. This is pretty relatable to most of my readers, so you should enjoy this one to a certain degree. I was never a big fan, but it's still a funny message.
12. Dynamite Soul
Before this albums sailed into mediocre waters, Artifacts left one more treat for us. "Dynamite Soul" as the would like to call it, is arguably the best track one the whole album. After a quick detour, Tame One and El seem to be back on top of their game in terms of lyrical ability. The beat is pretty thunderous and sets the tone nicely. Good sequencing by whoever does that type of thing. No one wants to end an albums talking about weed and stupid bitches. (Well, at least I don't, but judging from today's audience, they'd be just fine)
13. Wassup Now Muthaf--ka
My battle with spell check has reach it's final round and I think I just got a steal, but not without one final punch. Guys, why are we fucking censoring these words. If someone cares enough to find the album, I doubt they would be offended with another potty word. Whatever, I don't know what kind of bullshit major record labels were on back then. I would have appreciated it if the instrumental was more in your face, but the song is still pretty damn good. I'm satisfied with this conclusion.
Rating:3.5/5
Between A Rock And A Hard Place mirrors exactly what I said about Above The Law yesterday. I can't imagine it ever playing too much of a role in someone's life, but this shit was enjoyable as hell. The beats are grimy, both artists can obviously rap their asses off, but the biggest selling point is the way Artifacts brings the mid-nineties feel. You'll dip right into one of hip hop's greatest eras, but never feel too stuck in the past. Tame One and El Da Sensai may have been on a major label, but I doubt their were aiming for millions of sales. There's nothing better than listening to two rappers who are doing it for their love of the genre. If you run across it, you should probably pick this album up. Both artists would really appreciate the money. Maybe we'll convince them to release their long overdue third album.