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one of the final opera from our favorite beat genius Dilla - this should come as the sophomore album on BBE displaying his talent with (mainly) producing as well as rhyming. The album as a whole comes off pretty short, clockin' in at about 37 minutes, leavin' the impression that probably he would have done far more than that, if it wasn't for his sickness. His friend Kariem Riggins generously finished the album with all the work that needed to be done. But let's not talk about this sad story that has more than satisfyingly been reviewed all over the world.
This is not the banger album that Welcome 2 Detroit was and still is. The work here is pretty much varying from smooth R'n'B joints (with Dwele e.g.) to heavy soul sampling tunes (much like on Donuts, e.g. Love or Baby), to electronical little bouncers (intro, body movin) to drum heavy beats (over the breaks, jungle love), giving you once again a taster of how incredibly elaborated (say: "fckn GREAT!") and surprisingly variable the productions of this man can sound like. After the first few listenings this album might sound a bit less interesting than others, or expectations grew unaturally high, but as with every dilla album, the genius and density of his works throughly shines out the tunes when applying several times. Where works of other producers tend to get boring after constant listening, Dilla's get better - you'll dive into his rhythms, soakin' them up, re-discovering the intensity of his work over and over again...
R.I.P. great man! |
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