puntiniCAZpuntini

<< PROUD to be the only one who prefers TCV >> I also prefer a Hard Drive with low capacity but higher speed, compared to a Cobra's ECU-exhaust tuning kit.

Voices from a hallway I can't remember told me that it was actually Turner who brought "the" Daleks to Patton's house. From what you write, it seems the hallway was right. At the time, I surely laughed, even though Oceanic Remixes points out Aaron's great open-mindedness (but how do you pronounce it, eh-ron?). I've probably written it two million times, but I never get tired: Oktopus is wasted with that idiot at the microphone; he’s worth half of a tenth of him.

<<discone dei Cannibal Ox>> is even better than Funcrusher when comparing them together, but when I bought it, I already knew what was inside; Funcrusher, I did not. If Vast & Vordul hadn't listened to Co Flow as kids and had Producto behind them, Cold Vein would have been a different story. Also, Vordul isn't that strong; it's evident from his solo albums. Vast's two tracks are much better than Vordul's two, perhaps thanks to Melodious Monk, who did an amazing job on Vast's latest album.

Masterpieces also Vadim & Octagon, but no one on those records managed to blend well with those beats like El-P and his direct descendants did. This, as beats go, is one like many others, but there's Russel who puts on pure show, and that's also because the beats are sparse. It's almost a physical law; if you make the beat very musical you need to rap straight over it, otherwise, you can't make sense of it, you don't have the connecting thread; if you're musical at the microphone, the beat has to go tun-pa tun-pappà. Even Zack De La Rocha had to force Morello to put the pick in his eyes when he wanted to show who he was at the microphone; in fact, many were disappointed by the rock side of Evil Empire, while others were ecstatic about the Rap side (and Evil Empire came out just over a year after Funcrusher, in '95-‘96: the apotheosis of Rap).

<< Along with Funcrusher Plus, the best rap album ever! >> Seriously. Both this and Funcrasher EP (which basically has 80% of the tracks from "Plus") were released within three months of each other. The thing is, Funcrusher didn’t come out of New York because nobody believed in the Holiness of El Producto (even Funcrusher Plus wasn’t exactly easy to find at the record store, but at least it existed to order).

No, I haven't read it; it's too long. If you really wrote that it's the most original, then 5. But I'll tell you one thing: make them shorter; as soon as I saw you starting with the family connections, I went straight to the end.

Because you, Kosmo, were there when it came out and you also said, "What is this? What does it do? Who is it?". Hearing now that everyone has copied it, it seems like just another record, but in the spring of '95, there were plenty of dropped jaws, at least from those who could tell the difference between someone doing rap and a true master of ceremonies, because the central focus is to entertain and put on a show, which is often forgotten.

At the presentation concert of Zero Stress in Bologna, before playing, Dj Gruff played the whole record without even doing a scratch. Without even making a "bùh". Just "Listen and be quiet."

<< although it is not considered a classic of the genre >> Eh? But it's FIVE TIMES PLATINUM, not to mention the first of the Wu-Tang soloists to sell out, reissued three times before his death, and it's the only case where they even made an instrumental album on CD and not just on vinyl singles? What does an album have to do to be considered a classic, be hung in Times Square?

From a purely musical perspective, it's an album that shouldn't be taken too seriously. Method Man as a solo artist arrived at Italian mail orders in December '94 (due to Def Jam wanting to include All I Need with Mary J. Blige in the European version), and I bought it with my Christmas money. It was released the first week of spring and immediately made its way to the good stuff in Rome, but I didn't buy it because my turn to purchase had passed (everyone bought something and made cassette copies for others). But when I finally heard The Stomp, not even knowing what was coming next, I gave my Tical CD and ten thousand lire; it had to be mine. I later bought the vinyl, just to have it without even owning a turntable. I've sold at least 200 Rap CDs in my life. This one, not a chance; it's still sitting there in the closet. You shouldn't take it seriously; you should worship it every morning. This is the best solo Wu-Tang album and the best together. From The Stomp onward, there's the biggest sequence of bangers ever produced on a single album: Goin Down, Snakes, Protect Ya Neck, To The Zoo, Cuttin Headz, Dirty Dancin, Harlem World. One of the twenty albums I still listen to after almost fifteen years; damn, it should be taken seriously. That "it's a fun album anyway" can't be read; you're talking about the most varied and original MC ever. I would have banned you on the spot and possibly sent a Trojan to format your PC and blow up your home counter so that for days you couldn't listen to your stereo. Or I would have condemned you to listen for twenty years to all those damn MCs with the same tired metrics, the same speed, the same themes, and the same tone of voice; you don't deserve the brilliance of the incomparable Russel Jones. And don’t respond with that "de gustibus" nonsense; Rap isn't music that you can "like or not like." Rap is evaluated based on precise parameters, and you haven't hit any of them. An MC, if they're awesome, is just awesome; no taste or preference: You wanna know how to rhyme? You better learn how to add. It's mathematics.