Digital album released in 2003 shortly after the release of "Black August", originally internet-only, and therefore re-released in 2008. Despite the title, it's practically a new unreleased Killah Priest album, and therefore can be considered his fifth studio album. The tape is made in collaboration between the author and Dreddy Kruger. The production credits Anton Kallisto, Javon, G 13, Jahson of Mood, Just Blaze, Francis, Full Moon, John Shairo, Killah Priest, Tiny, Mr. Khaliyl and 4th Disciple. The guests are Ol' Dirty Bastard of Wu-Tang Clan, Hell Razah of Sunz of Man, Dreddy Kruger of Royal Fam, Ras Kass & Kurupt of The Four Horsemen, Rudy, Savoy and Main Flow.
After a couple of minutes of intro with Rudy, Killah Priest opens the album with "Big World": honest soul chipmunk sample from Dinah Washington's "I Remember You" spliced with a second sample from Ronnie Laws' "Flame", then the worst drum you can imagine falls off the shelf to accompany such melodic sounds. A squalid, difficult, inaccessible, very rough rhythm emerges, created by unnamed beatmaker Javon. Lyrically, the song is all Killah Priest because the guy spits in a menacing style and he places lines ranging from metaphysics to more street-related bars, from casual boasting to other religious ones in a battle that goes nowhere.
The emcee returns with a softer stride and a quiet, relaxed delivery style in the following cut, on a velvety production by Jahson of Mood, already main producer on "Black August", who does a better job here than most of his choices on that album, placing a sweet piano and a correct drum to support the rapper's verses. Just Blaze sits behind the keyboards for "The Last Supper", narrative about religious history where Killah Priest finally finds himself at home both thematically and musically. The choice of Just Blaze is intelligent in its simplicity, the producer inserts a bass that works in the background, a contained and fresh midtempo drum, booming drums and crackling percussion that envelop a magical piano loop. This sublime rhythm accompanies Killah Priest's almost spoken word delivery, here in one of his best moments in the last five years.
Choice number five is a remix of "Time", a song from the previous album: on the same production as G 13, Dreddy Kruger of Royal Fam joins the main rapper without adding anything to the song, while Savoy sings the hook. "Revisited", a sort of title track of the project, features a discreet production by Francis: it's another attempt to cling to that chipmunk soul sound so fashionable in mainstream productions of the period, especially in those released from Roc-A-Fella records, but it sounds watered-down just like it was made by an amateur and doesn't adequately reward Priest's rapping. “Movie” is one of Masada's latest solo tunes, flowing calmly over an honest beat crafted by Jahson, which as usual places a piano that's overshadowed by a dry and hard midtempo drum.
“Mind as a Weapon” is one of the more interesting cuts from this project. It was originally intended for Priest's debut "Heavy Mental", then it doesn't make the tracklist. The beat is a hidden masterpiece by 4th Disciple: plucked acoustic guitar, then comes a tender bass line, light drums that quickly take up their own space, fresh, youthful, frenetic. On this mild soundscape the author is joined by the other Sunz of Man member Hell Razah, who definitely enjoyed Q-Tip's verse on "Drink Away the Pain", Mobb Deep gem for their 1995 album "The Infamous" during which the leader of A Tribe Called Quest goes completely off topic compared to the rest of the song and stages a robbery carried out together with some well-known clothing brands. In fact, the guest tries to recreate that same iconic verse, mixing frayed lines of gangsterism, religious references, biblical references, ancient history and drugs in a confusing, complicated and intricate cryptic and whimsical stream of consciousness, reciting their lyrics with an inspired and confident hardcore style. Killah Priest is also on the same wavelength and comes up with a very similar verse, with a different delivery style, slow, thoughtful, elegant, fluid.
"Street Opera" is another interesting cut, also originally intended for "Heavy Mental", then it fails to enter the tracklist and is designated as the b-side of the single "One Step". It's one of the finest productions of the late nineties in hip-hop. Sensational soundscape from 4th Disciple, who invents an immaculate beat. A few piano keys open the piece, then majestic violins arrive accompanied by a heavenly choir and a flawless deep bass line. The best drum imaginable also comes out, dirty, dusty, hard, midtempo, perfect. Hell Razah offers intro and chorus constructed from soap opera titles, then paves the way for a single socio-conscious verse by Killah Priest, who delivers bars with a slow, unyielding, silky, dope style. Hell Razah comes back for the final hook and doesn't miss a thing. The rhythm breathes for a few moments at the end, but it also deserved two minutes. Definitely one of his best songs ever and worthy of being up there with the other songs on "Heavy Mental", fantastic.
The tenth choice is another remix of a song from "Black August", not memorable unlike the two previous 4th Disciple productions: Dirt McGirt drops bars with his typical style over a little below-average music, created by Mr. Khaliyl. The beatmaker Full Moon brings back some chipmunk soul in this effort by sampling Bonnie Tyler's "Total Eclipse of the Heart", which obviously sounds much worse than it should sound. The drum is outrageous, the piano loop is bad, the guy doesn't do a very good job behind the keyboards and Priest fails to bring this piece to the top of the album. Ras Kass sounds good on "Vengeance" over honest production by Jahson, trading verses with Killah Priest coming down with a couple of gangster stanzas and some quick rapping, things almost the antithesis of Masada discography and his best moments.
There's also the other 4 Horsemen member Kurupt as a guest on this album immediately after, on "Militant" (aka "2 Militant"): John Shapiro's production is tasteless, there's a fairly mediocre female loop and it sounds melody deprived and Kurupt only delivers the hook at the end, the tune is pretty flat and disappointing. It seems that amateur beatmakers have to place a chipmunk soul sample by contract, this is Tiny's turn to place one that disappears early in "The Rain": the production isn't bad, but it isn't exciting, inside Killah Priest together with Main Flow to revive a record that was softening after reaching its peak with the productions of 4th Disciple and the appearances of Hell Razah. Anton Kallisto returns after providing the beat for the intro: the boy continues to make no mistakes by providing Priest with an ideal sound carpet for "People", after being the best producer of "Black August". The Brooklyn rapper delivers bars with his stream of consciousness and uncluttered flow. "Genesis" concludes this effort: Killah Priest makes the beat himself, an uptempo production with dance influences in which he flows quite nicely.
The album was born from an idea by Dreddy Kruger and Killah Priest and was published in 2003 by Dreddy Kruger's Think Differently Music. The tracks with Hell Razah are the first collaboration with an artist from a Wu-Tang affiliated group on his album since 1998 (excluding the groups of Killah Priest), even though they are two tracks that failed to make it into the tracklist of his debut. While the presence of Ol' Dirty Bastard marks the first new collaboration between Iron Shiek from Middle East and a member of the Staten Island supergroup in five years and is still a tune practically impossible to find on the internet. The music sounds coherent in this hour, although there's almost a different producer for each track, and the guys root the beats around chipmunk soul samples that stay there for a few seconds to start the rhythm and then leave. It sounds like a good quality street album, certainly superior to "Black August" because it has no particular weaknesses except for a few rare missteps and indeed the remixes of songs borrowed from that album. It's therefore his best solo work since his debut, 7/10.
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