COPPERSHOT

'Issues'

EV

One of the biggest trends in hip-hop over the last 3 years has been the rapper/producer collabo LP. From Jaylib to Madvillain to Danger Doom to Gnarls Barkley, rappers and producers everywhere have been teaming up under some wacky group moniker and releasing albums together. Even Aceyalone and RJD2 got in on the act ( without the ubiquitous compound group name ) earlier this year, and Wu-Tang clansman Ghostface Killah will be doing the same with the Metal Face villain Doom later this year. The newest such "supergroup" to try their hand at one of these 'Marvel Team-Up' style projects is Coppershot, comprised of relatively unknown emcee Longshot and producer Chester Copperpot, both of whome hail from the city of Chicago, Illinois.

It sort-of goes without saying that their LP 'Issues' ( which is a pretty straight-forward rap record masquerading as a concept album about emotional and psychological problems ) isn't necessarily as exciting an experience as some of the other similarly styled joint venture albums which obviously inspired it may have been. I mean, both Longshot and Copperpot are more than competent at what they do, but there's a reason why neither of them aren't quite household names yet, even amongst backpack rap die-hards. Emcee Longshot proves himself a solid mouthpiece, flexing a flow not-unlike that of a less distinctively-voiced Rockness Monster, but that's about it. He doesn't really possess the type of standout voice, artistic vision, personality, philosophy or lyrical ability that you might expect from the type of elite emcee most suited for a project like this. And producer Copperpot spends most of the LP emphatically establishing himself as a versatile ( so much so that I find it difficult comparing him to anybody ) and talented beatmaker. But he never really establishes a sound that's totally his own, and his penchant for flipping different beats can sometimes make his work feel unfocused rather than multifaceted.

So, although the set doesn't quite come off as a homogenous statement from two proven artists combining to form one mind, there are a number of really good songs on 'Issues.' Sporting a chorus which proclaims that "bitches dig the beats, niggas dig the lyrics, we got everybody lovin' the sound," the tune "Breath" flips some old Prince-ish drum machine sounds ( complete with those Linn-Drum handclaps ), deep bass tones and electro-harpsichord melodies for a fun, funky and contemporary vibe that could easily pass for a J. Dilla production or a Neptunes-produced banger for some as-yet released Clipse album. A slowed-down but jumpy track reminiscent of late '80s Boogie Down Productions backs up Longshot's lackadaisical drawl on "Never Stand Still" which also features a scene-stealing guest-spot from femcee Psalm One. Another guest-star, this time British emcee Braintax, adds that extra something to "Culture Pop," a clever back and forth between the two emcees about the exchange of ideas, politics, commerce and culture between nations and social groups over a minimalist but utterly incredible Copperpot track. As a "shit is rough, but I gotta get mine" anthem "Broken Hungry" is pretty atypical lyrically, but it comes off lovely due to Copperpot's understated boom-bap beat and wicked vibraphone and piano loops. Just as topically ubiquitous as "Broken Hungry" the anti-police "C.A.P.S.," featuring fellow Chicago emcee Diverse, overcomes it's subject matter due to it's spine-tinglingly eerie vocal and oboe loop that wouldn't sound out of place on a Portishead record ( I'm sort of wondering if they didn't actually sample P-head or that Beth Gibbons solo record actually ) which creeps along with the raw drum programming under a vintage Boot Camp Clik style chorus and chillingly cold vocal performances from both emcees. There's even a cool unlisted bonus cut, which I assume is called "Work For G's," that sounds like it might feature a couple of guest emcees flipping verses about getting dough over a classy lounge-style bass and piano groove. If there's one direct complaint I have to make about the disc it's about the interlude track "I'm Just A Soul," which happens to be one of the best beats on the album and could have benefited from being turned into a full song with vocals and the whole nine.

More of a showcase for two rising talents than the combination of underground superstars, 'Issues' isn't the type of album everybody's been clamoring for, but it's a solid listen. The subject matter is familiar and accessible, the beats are original and ear-catching, and there are a handful of genuine standout tracks littered throughout the disc's brisk 50-something minute playtime. So though an album like 'Issues' is likely to be overshadowed by the artistic brilliance and star-power of a collabo project like Gnarls Barkley's 'St. Elsewhere' the guys from Coppershot still deserve a shot at some time in your CD player.

EDGAR ALLEN FLOE

'Floe Almighty: The Chronicles Of Edgar Allen Floe'

Shaman Work

It feels like I just reviewed a record from Justus League affiliate Edgar Allen Floe a couple months ago. And I guess I feel like that because I actually did review an EA Flow album a few short moths ago. Hot on the heels of that release, the 'True Links EP,' Floe has returned with a full length release featuring new material and remixes of a few of his previously released tracks called 'Floe Almighty.' Not much has changed between the release of 'True Links' and 'Floe Almighty.' Floe still comes raw and straightforward with a deep monotone delivery that's more than a little reminiscent of Large Professor and Edo. G. He's still down with the Justus Leage. And though he branches out and self-produces more of the tracks on this release he's still got JL beatsmiths 9th Wonder and Khrysis backing him up with their signature soulful loops and neck-snapping drum programming.

As you might expect, the most appealing beats on the set come courtesy of 9th and Khrysis. Which isn't to say that Floe's own early '90s throwback style of production is wack ( it actually comes off particularly tight on "Hostility" and "Changes ( Mood Swings )" ) but 9th and Khrysis just bring their A-Game throughout. In fact, the first time I put the 'Floe Almighty' disc into my CD player I was forced to ask out loud why 9th's beats on his own group's albums ( especially Little Brother's recent 'The Minstal Show' ) always seem to pale in comparison to the shit he laces other cats ( a list that includes Murs, Sean Price, Edgar Allen Floe, Cesar Comanche and others ) with. Tracks like "Craftmatic," "Floe Almighty" and "The Torch" just bubble with feel-good energy thanks to Krysis and 9th Wonder's airy, almost whimsically musical soul chops, vocal samples and propulsive drum work.

More than anything though it's Edgar and 9th's "The Righteous Way To Go ( Remix )" that makes the disc a must-listen. Musically beautiful and lyrically uplifting, this track more than measures up against many of the classic "message raps" we know and have grown to love over the years. The irresistability of "The Righteous Way To Go" is due in large part to 9th Wonder's track which liberally samples Curtis Mayfield's spiritual soul classic "The Makings Of You," freaking the tune's string-fueled melody and chunks of the song's vocals ( particular the "righteous way to go" refrain ) over a beat comprised of a raw combination of kick, snare and shaker. The result is the perfect backdrop for Floe's grown-man-talk raps that blend fatherly protectiveness, older-brother-style confrontational attitude and the common sense social analytics of a street-corner-philosopher.

In the end the less-than-homogenous production on 'Floe Almighty' leaves the album feeling a little uneven in comparison to Floe's 'True Links.' But whereas the 'True Links' EP may have been more consistent on a whole as a tight package of solid tracks it lacked the obvious standout "hits" that 'Floe Almighty' posesses in "Craftmatic," "Floe Almighty," "The Torch," and most especially "The Righteous Way To Go." This odd balance makes the full-length 'Floe Almighty' seem more like an exceptional EP padded out with slightly less-than-exceptional filler in the name of making it an LP. As it stands 'Floe Almighty' is a worthwhile listen ( even it it's just for the highlights ), but had the tracklist been kept lean and mean it would have been a a sure-fire "must-hear" all the way through.

LADY SOVEREIGN

'Vertically Challenged'

Chocolate Industries

Grime, yadda yadda. UK, yadda yadda. Female emcee, yadda yadda. Cover of URB, yadda yadda.

This 8-track-plus-bonus-DVD EP on underground-favorite-label Chocolate Industries is Lady Sov's official introduction to the States. The self-proclaimed midget has recently signed to Def Jam after reportedly impressing Hov himself.

With three remixes sprinkled amongst 5 original songs ( just about all of which were available quite readily before ), 'Vertically Challenged' is only a mere glimpse at Sov's raw talent and ability. The EP is energetic and impressive but doesn't contain enough different material to maintain a listener's attention.

"Ch-Ching" was featured on the infamous 'Run the Road' compilation but it is one of Sov's stronger outputs so far. The drum-machine handclaps and buzzy-bass on this remix make the perfect backdrop for her speedy and infectious flow. "Random" and "A Little Bit of Shhh" are also highlights with their banging, hard-knocking beats and blurry, deep basslines. "The Battle" is a girl vs. boy affray featuring Shystie, Frost P, and Zuz Rock. There's even an Ad Rock produced remix of "A Little Bit of Shhh" which is quite a bit garagey for a Beastie Boys track. The Ghislain Poirier remix of "Fiddle with the Volume" rounds out the effort with a whistley, snare-focused beat and some sparse synths which make the track perhaps the best "remix" on the album.

The accompanying DVD is standard-fare for bonus DVDs with an interview session interrupted by live footage, internet video, and 3 complete music vides. It's worth watching to get a bit more familiar with the Lady, but it's even harder to figure out what she is saying while talking than it is while she's rapping. Although, maybe I'm just a UK-female vocalist groupie but I think I started to grow a little crush on her. Yeah, I'm a fanboy so what?

'Vertically Challenged' serves as a stellar intro-EP for Ms. Sovereign. It's definitely a worthwhile listen and certainly proves that she is a rapper to be checking for in the near, near future. Make way for the S-O-V.

SOUL POSITION

'Things Go Better With RJ and Al'

Rhymesayers Entertainment

RJD2 is a busy man lately. Hot on the heels of his excellent collabo with Aceyalone comes (from seemingly out-of-nowhere) another Soul Position album. It's great to see Ramble John banging out a boatlod of hiphop tracks, and the joints on this album harken back to the earlier days of the man's catalog.

I fell in love with the 'Unlimited' EP back in the day. It was pure, unadulterated, unmitigated freshness. And I'm going to be honest, here: ya'll know I love RJ and Printmatic - I can't front. Blueprint's unique, pronounced flow and RJ's full, developed production are a perfect pair. Together, they create a solid, universally-appealing hiphop soundscape - no frills, no gimmicks, no limits. It's been a great couple months for rap (acey, murs, ghost) and Soul Position is keeping the trend alive.

Maybe it's because I feel like I've been asleep for 7 months, but RJ sounds as fresh as he did on 'Deadringer,' with rousing, funk-fueled beats and loud drums. Blueprint is no slouch, either, with his expert, old-school-type storytelling and socially aware lyrics.

On "The Extra Mile," Print explains the premise: "In this corner, we got the undisputed champs of hiphop, Soul Position...versus everything that sucks about music in the opposite corner." He continues, determinedly, over a funk-guitar and horn-stab beat with a slick hi-hat rhythm. "Deeper than the stare of a man who's lost it all, longer than the outstretched arms of the law, wider than the eyes of a newborn child, we're comitted - to go the extra mile."

"I Need My Minutes," is the long-overdue track about the ever-increasing cell phone bill. A semi-plodding piano line accompanies some classic drum machine handclaps while our man Blueprint distresses about the high volume of meaningless calls eating up the precious minutes of his cell phone plan and driving up his monthly bill. "People want to call you up out of the blue, killing all your minutes just to holler at you...I need my minutes, I need my minutes..."

Album closer, "Things Go Better" is a thumping, flute-swirling narrative which details the partnership of the undisputed champs. All in together now, things go better now. Print's distinct voice and flow is perfect for stories, profiles, A&E Biographies....and his retrospective of the duo's coming-together provides a solid insight into the making and maintaining of a modern rap tandem. "And almost over night I gave up my home life, my 365 was hotels and long drives, withdrew from people that I known my whole life, and lost everything that resembled a normal life, and RJ's dealing with his own shit, he wanted to quit before '8 Million Stories' hit."

The revenge-gone-wrong tale of "Keys" features a meloncholy guitar backdrop behind some dirty horns. "You forgot your keys!!" While, the dusty strings on "The Cool Thing to Do" accompany Print keeping it real with his young niece..."take my advice girl, don't be a fool, before you get involved with him, you must have some rules..."

Lead single, "Hand Me Downs" is a classic RJ-style beat (you know, the kind that got him compared to Shadow so much). Grungey kicks, loud as hell horns, and a Chuck-D-esque indignant chorus: "C'mon say it loud! Look what we handed down! Don't it make you proud?" Although, the production on this track also seems to lean toward 'Platform-'era Dilated, especially when the scratched vocals come in.

RJ and Al have truly made things better with this quality-ridden record. There's no skits, no interludes, no celebrity introduction - just 12 solid, well-constructed, meaningful rap songs.