Timothy "Tim Dog" Blair, Bronx, New York, 1967. You have to go back to this guy when you want to answer the question: "This f*ck*** feud between the Coasts, which took away two of the greatest hip-hop artists of all time, where did it start from?" Well, that's all. It all started when this 23-year-old Blair hasn't yet emerged in his neighborhood rap scene: he wants to get into the game, but the labels pretend that he poses, he gets dressed, and that he raps with the NWA style.
Blair disagrees and in March 1991 he released his first single for Ruffhouse Records, the vibrant dissing "Fuck Compton", with which he attacks the entire West Coast and in particular the NWA, none excluded: it's really the first shot that officially begins the war between the Coasts. From this cut comes the rivalry between the Coasts, because the NWA have not even deigned to respond to a unknown-dude in the Bronx that can be called "rapper" with great painful effort, but Dr. Dre decided to replicate on his own and in May 1993 he released "Fuck wit Dre Day”, lyrics by Snoop Dogg.
It's the beginning of the end. Returning to Tim Dog, his single is followed by another dissing against NWA, released to promote his debut album, "Step to Me / Secret Fantasies", from which Ice Cube is excluded from attacks and he's praised. Both of these singles are included on his album: the production is the work of Ultramagnetic MC's with which Tim Dog is affiliated, Ced Gee does an excellent job creating simple and skinny funky rhythms that drag the stupid bars spit by the rapper around the album, bringing the project to the end.
The lyrics of this New York guy are youthful, cheerful, light-hearted, devoid of real content: his lyricism is fun, crazy and unknowingly contradictory, deeply inconsistent, there are good rhymes, bad rhymes, rhymes without sense, random words lined up in order to make sentences of full meaning, failing inexorably and continuously every time and ending up creating deficient verses.
All of this is mixed together in this confusing and sick effort, which allows him to create crazy hardcore tracks: this is a mediocre MC that compensates for his simplistic rapping technique, his effortless generic flow and his sparse lines with a charismatic and shouted delivery, crude and threatening, energetic, while remaining stubbornly ignorant and noisy. With better lyrics it would be close to the classic hardcore, because the will is there, but half the time his bars are understandable only to himself (perhaps), for a third of the album he diss the N.W.A, for a third he diss the others Wack MCs, for a third he's pure braggadocio and for another third he diss the girls, any girl, all for no reason. To recount this, you come out with four thirds, yeh, but this record is crazy, don't investigate. The only positive note is represented by Kool Keith, who comes to save a couple of songs in the role of Rhythm X, one of his many characters.
Rating: 6/10.
No comments:
Post a Comment