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ATI's Teviews: Hi-Tek & Method Man
^THAT WOULD BE REVIEWS.....
Hi-Tek
Hi-Teknology 2: The Chip
Babygrande Records
A half-decade after his debut album Hi-Teknology, vetrean producer Hi-Tek is back at the helms of his second solo project, the sequel to his debut- Hi-Teknology 2- The Chip. Throghout his career, the underrated beatmaker from Cincinatti has been recognized for his soulful soudscapes, and for his focus on consistency in his work, as Tek is never quick to reach for single material when it isn't in his grasp. His second time around the block spawns a solid soundtrack, backed by his expectedly strong production and a bevy of big-name guests.
Hi-Tek has always had the ability to use elements from both the old and new schools in his production, and he shows off his Rawkus side on the Dion, Q-Tip, and Kurupt collaborated "Keep It Moving," which leads into the somber "Can We Go Back," where Tek and his former partner in crime Talib Kweli reminice about past relationships. 2006's top MC Ghostface Killah is brought along for the soft-drums laced "Josephine," where Ghost narrates the story of the title charcter's mishaps in the projects. "Where It Started At" is a Andy Williams-sampled anthem for the NYC, as hometown heroes Jadakiss, Papoose, Kweli, and Raewkon display the lyrical bravado common to all NY rhymeslayers, "All I got is my word and my nuts, man, I got Brooklyn in my balls/So you could see Bed Stuy is you lookin' in my drawers". While Tek and The Game both fail to illuminate the G-Funk style of Dr. Dre on the annoying "1-800 Homicide," Hi-Tek tones down the album for the soulfully quiet "So Tired" and the years best collaboration "Music For Life," where Nas and Common drop jaw dropping verses creatively describing their affection for hip-hop music, "Givin the ghetto a taste of what freedom was like/I reached the point of my life where I was needing a mic".
While The Chip is mostly void of any major flaws, the solid production can sometimes come off as overly-similar, and with guests showing up left, right, and center, Hi-Teknology 2 seems like a well put-together mixtape instead of a solo project. Although Hi-Tek doesn't make any major changes to the production style appreciated by underground fans and mainstreamers alike, The Chip shows that he doesn't have to, as Tek has mastered a style that has put him in the ranks of some of rap's best producers.
Method Man
4:21... The Day After
Def Jam Records
In a year in which Wu-Tang member Ghostface Killah put out not one, but two albums that put most mainstreamers to shame, most Wu fans would expect if not two, then at least one set of quality music from fellow clan member Method Man- sadly, The Day After fails in comparison to the work of Meth's hard-working brethren. Still trying to catch up to his high-skilled debut, Meth uncharacteristically falls victim to the problems of today's common emcees, filling his newest album with bogus cuts that not only makes the album a sub-par effort, but more importantly, takes away from the focus he attempts to work off on The Day After.
Meth, whose lyrics, usually introspective and humorous, fall flat one too many times on The Day After, as he resorts to filling his bars with humorously bad quips such as "my shit is hood bitch, that means I'm hood rich". Not be mistaken for a lack of skill, the half-hearted rhymes fail in comparison to Meth's few flashes of brilliance, which include his ripping to shreds, guitar-laced, and Lauryn Hill-aided "Say," which is not only the album's finest cut, but also one of the best of 2006 in general. But too often, the album is flat-out boring, and even true Wu faithful will grudgingly accept that this is far from Meth's best work. Tracks like "4:20" and "Let's Ride" sum up the album, the first being plain and un-engaging, the latter being a mediocre, radio-friendly joint. Even the lyrically simple "Ya'Meen" provides much needed energy to an otherwise mundane release, and "Everything," as well as the RZA-laced "Presidential MC" serve as examples of what Meth could have accomplished with a more focused and balanced project.
While Meth is rarely at the top of his game on The Day After, he still carries the charisma to allow the better moments of the disc to overshadow some of the disappointments. Meth's career is far from over, and if the bright spots on his latest LP are any indication, there is still enough left in him to eventually catch up to the more mature and settled Ghostface. And by the way, where’s the Ghost collabo?
P.S. I know its a lil late, but these were requests
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Originally Posted by CC...
