2: The Refill" is a solid release.One of the great narratives of ’90s rap was the steady migration of Southern artists toward the national stage. A bonus verse from Rev and the soulful crooning of MP (formerly Mike Anthony) help make this song into one of "The Refill"'s standouts. 2", a worthy sequel to the original, detailing how things have gotten worse since the last ride around town. And for fans of XL's much-overlooked social commentary, look no further than "Shotgun Pt. Middleton even goes as far as to flip the rapid-fire Twista-style flow into a West Coast style all his own. On "Lose Control", XL again gets experimental, this time with a jazzy track that mingles smooth chords with a warm horn section and double-time rhythms. "When U Down" is sure to please G-Unit fans (I'm talking 50 Cent from the "Guess Who's Back" days, not the new shit!) with its mix of samples and sing-songy hook "Freestyle (Autobiography)" is basically what the title says - one long verse over a heated track, detailing the road XL has traveled thusfar in the game. However, XL makes sure to let it be known that traditional West Coast funk is not the only card in his deck. It's an authentic, warm tribute to a great era in hip hop history. On top of that, it seems like Black is doing his best Daz impression while XL takes on the role of Kurupt, and they ice the cake with a dancehall artist spitting a verse at the end. Black & King Stamina), where it seems like Middleton has concocted a throwback Daz/Dre track that would have fit right in on "Dogg Food". He even shows a nod of respect to the Deathrow days on "West Coast '96" (feat. Black), which is basically an unofficial sequel to "Feel So West Coast", "Gettin Paper In Cali", and "Another Summer", an uber-smooth summer anthem for the cynic in all of us (it sounds weird, but check out the lyrics and you'll see what I mean). Vintage XL also surfaces on tracks like "4 Tha West" (feat. Another likewise comparison - "Wouldn't Wanna Spoil That" (featuring Mista Mil) stretches XL's former musical boundaries and delves into a highly experimental mix of swooshing pads and 808 claps, while "Let It Bump" revels in its Funkadelic-inspired soundscapes. Low-D into the mix to let his Japanese fans know that he really sees them!). XL is simply at the point where he's found his niche and is now trying to expand it, while pleasing his core audience at the same time.įor example, the lead single "Ah Yes" features a dark, slow-rolling groove and a screwed-and-chopped hook that would fit in on any Down South mixtape yet on "G-House Party", he takes it straight to the excesses of 80's retro funk with an uptempo groove that Quik would be proud of (and for good measure, he throws Japanese MC Mr. Essentially this record is devoid of major label influence. "The Refill" is definitely not a "money" album, with no recognizably radio songs to speak of. Of course, there have been a slew of rappers who have titled their albums as sequels to their magnum opus, some in hopes of rekindling the magic, and others only in search of monetary gains. 2: The Refill", you can actually feel a chill in your bones, as it seems that XL is once again conjuring up the same formula that made the first "Drunken Evening" album an underground classic. Once you press play and hear the dark, haunting intro to XL Middleton's "Drunken Evening Pt.
0 kommentar(er)
