Curren$y – Weekend At Burnie’s album review

Curren$y is arguably the greatest rapper in the game right now. When you talk about best by any measurements he could be deemed G.O.A.T. in that he fulfills parameters that are quantifiable. Wordplay, story telling, cadence, catalog, beat selection, holding ones own on guest appearances and, the most important, consistency. You name it and Curren$y does it and does it rather well yet, even the great ones have occasionally had bad moments.

With all the recent rumblings of The Hot Spitta’s signing to Warner Brothers — would it effect his style, would he change up — the release of Weekend At Burnie’s feels as if it has gone under the radar. The aptly titled Covert Coup, produced entirely by The Alchemist, felt a tad bit underwhelming and Return To The Winners Circle got stark reviews yet did not catch fire as some of his previous mix tapes had. Was the Jet Setter finally descending? Would this fourth album stack up against his already impressive catalog that featured the gloriousness that was Pilot Tolk 1 & 2 and This Aint No Mix Tape?

If you are not a fan of the Jets this CD may make you want to board the plane. Front to back nothing jumps out as close to weak/wack. That is not to say this is the safest of releases; Curren$y takes some chances on this one. On a track like “She Don’t Want A Man”, there is a different feel then when you may have heard him prior. What is a story of a women who has a man and his “relationship” with her is told superbly. Story telling in rap is a lost art and almost always comes off corny if not done properly. Hot Spitta has honed his craft and puts you through a bevy of emotions within a four minute twenty-two second time frame. It really is something epic. When a artist takes a risk and succeeds it is a win for his or herself and the audience that is privy to it.

There are no mind blowing collaborations with Lady Gaga on this record. Sticking close to home and only seeking guest appearances from Young Roddy, Trademark and Fiend. It makes this helping more intimate. No one outshines Spitta on his own tracks but the few songs do help change the pace and offer you different angles into the Fly Society co-founder. Seems as though everything comes together on this aforementioned album. It is said that if all you have ever consumed was Mcdonald’s you would not know the wonders of fine dine. How could you? That must be from where the hate for five star raps originated.

In truth there is nothing near exceedingly bad to say about this album. The rhymes are on point as are the beats. The only thing that could even be stated as a supposed negative is the length at which this album stands. From “#Jetsgo” to “Get Paid” ft Young Roddy & Trademark the album is less then forty-three minutes long and twelve tracks. Somewhat of a pet peeve though when albums drag on frivolously. This is just straight heat from “Money Machine” to “You See It” you hear a man who is going for the belt. Dare it be said it is medium and sweet and benefits because of that. Substance and rap? Who knew.

If hip-hop is dead the former 504 boy/Young Money signee did not get the memo. As per his usual this compact disk is chock full of deliciousness. KRS will enjoy this as will a casual hip hop fan with half a brain. This is more than “weed raps” and this is more than smoking weed without using a cigar wrap. This is what hip-hop is supposed to be in that it is intricately designed and crafted, meticulously thought out and executed flawlessly. The argument could be made that this CD is classic although such would be the case for all of his releases. No ears popping, no seat belt sign rising from the dead and no queasy feeling; the planes are not descending any time soon.


Pharcyde – NXNE

Yonge and Dundas square was raring for some ill hip-hop for North by Northeast Festival(NXNE) June 19th, a beautiful Sunday afternoon in Toronto. Hip hop was on display as the headliners for the festival — Pharcyde — were set to take center stage. Many a hip hop head came out to a free show with one of the heavy weights of nineties hip hop aka the golden era. They literally shut down Yonge and blockaded it for what had to be a crowd upwards of five thousand.

Before Pharcyde could melt your ears Digable Planets brought the heavy funk. As per usual they came with the heavy sound boasting a live band and a DJ. It was crisp as ever and for some older heads they showed a surprising amount of bounce in their step. The crew was all there and the crowd ate it up. “Rebirth of Slick(Cool Like Dat)” sent all the heads in the building into a frenzy and was done with out missing a beat. Even with the addition of two local guitarists last minute because of border issues everything went off with out a hitch. It was great to see Toronto local talent being represented properly.

I was excited to see Digable Planets they held it down, New York was in the building, but I came for Pharcyde. That for me was bucket list as seemingly every older head has will continually tell you about how much better music was in the nineties and they were a big part of that. There is no Wu-Tang today, no EPMD but there is Curren$y, there is Brother Ali and there is Mr. Yeezy. It has been said and will continue to be said that there is good music out there it is just not getting the radio love that it once got. Sure you have to delve a bit but often times that can be rewarding.

I was stage left for Pharcyde and was fairly close up. The second they came you could just feel their energy and it was really positive. They played all their hits off their debut album Bizarre Ride II the Pharcyde including “Passin’ Me By”, “Ya Mama”, and “Soul Flower”. At the onset it seemed as if Booty Brown’s microphone was rather low. The volume simply was not right for as close as I was or anywhere for that matter. Eventually though they got the levels right and like a true pro he just rocked on and did not miss a beat.

The crowd participation was on point at one time later in the show they invited a plethora of good looking women to come up and shake their tail-feathers. They knew how to rock the crowd giving us collective props and mentioning numerous times how much they enjoyed T-dot. I was impressed with the energy that they still possessed at forty plus. They put a J-Dilla tribute and Nate Dogg tribute together and I was really feeling that. For me the highlight of the night was “Kids With Guns”. The sheer enormity of that track live was almost too much and people lost it. Besides some minor sound issues — it happens it is a concert — it was a dope set. They rocked for over an hour and left it all on the stage.

As far as NXNE went it was an amazing festival. Seeing such hip hop legends live was a dream come true and they lived up to the hype. Bopped all over the stage and had excellent crowd participation. Fatlip did not show but Slimkid3, Bootie Brown, Imani did and all in all it was a very enjoyable set. Digable Planets was amazing as well it was great to see hip hop being represented in a positive light and for free. I left in a better mood than when I came.


Big Sean – Finally Famous album review

Finally Famous Sean Don aka Big Sean finally has a barcode out and about on Tuesday June 28. The G.O.O.D. music signed MC has been waiting in the wings for this opportunity ever since he dropped a sixteen in front of Mr. Yeezy back in ’05. The Finally Famous mix tape series — volumes one through three — having been deemed a success built his buzz to the point were it was time to drop the barcode on them. The snap-backer from the class of Freshman 10 was looking to translate his buzz into a dope frosh CD and cement his place in the game as one of the brightest lights in the new school.

First caught on to Big Sean from word of mouth from a mutual friend who usually knows good music. Listened to Finally Famous Volume 3 and a couple songs off his other mixtapes like “Millionaire” and enjoyed his style/swag. The only problem I saw was the consistency. Some of his tracks were hot while others just did not seem to have the same oomph. How that would translate to a actual official release was a fair question. After hearing his first two singles, “Hands Up In the Air” featuring Chris Brown and “I Do It” hesitance set in. “Hands Up In The Air” had no substance no conviction and “I Do It” was swagging, minus the video, but it did not “do it” for me.

After the countless times this CD got pushed back for a laundry list of reasons people were wondering if it would ever make the shelves. Well it is here and after listening to this one front to back a couple times all that comes to mind is this is one of the most uninspiring CDs in recent memory. The singing style/rap style has been done and more cleanly feel for example Drake. On tracks like “What Goes Around” and “Don’t Tell Me You Love Me” you can tell Big Sean and singing hooks are not really a strength. Even though Drake may have “borrowed” his style a few times he pulled it off more flawlessly than Big Sean when he attempts to return the favor.

How can you not question his ear for beats with such selections as “Dance(ASS)” produced by Da Internz? You have Mr. Yeezy in your corner how did this song get on this CD? It is terrible. This CD is almost sleep inducing. With out question put Lasers and Rolling Papers ahead of this and both of those were uber pop. Will it sell? Maybe but if you are not a fourteen year old white girl — Mr. Do It’s demographic — can not really see how you could proclaim this ill. He has sick punchlines and the lyrics are on point for the most part but will you be listening to this CD in 10 years? Is it classic? No albeit not even close. “Detroit’s Angel” literally got got bodied on every track with a guest spot. No other rapper named Big got bodied on every single one of his tracks with guest appearances. The energy every guest brings does not seem to be matched and half the CD is filled with guest appearances from Wiz to The Dream.

Why is he talking for 2 minutes at the end of “So Much More”? Why so many guest appearances? Where are the bangers on this? “I Do It” and “My House” are the conceivable answers although the auto-tune on “My House” is really not needed. So many questions. He has superb cadence and metre and his movement is moving but this CD is not on the level with a lot of what is already out. Tough to relate to any of it and after listening to it a couple times one is not compelled to. Even where he tries to get personal — “Memories” ft John Legend for example — it is hard not to scoff a bit. Not to say he has no problems but does not come of as though he cares about them because he does not make you care. If asked to describe this CD briefly it could be said that it is melancholy almost to the point of it being passionless. There is no real give you those goosebump bars with that hair stand up feel. The singing/rap thing is almost played out already but in all earnesty it has been done better i.e. Drake and Wiz. Save your money.


Travis Barker – A New Dawn

Travis Barker has single handedly made himself relevant in the hip hop scene by making music with some of the biggest names in hip hop. From Lil Wayne to Techn9ne he has worked aside some of most talented and brightest stars and is coming off of the flame that is Give The Drummer Some. Completely produced by himself besides one track — “If You Want To” (Pharrel)– Travis Barker is solidifying a name for himself in the hip hop community.

A lot of casual fans in the hip hop scene may have never heard of Travis Barker — the drummer for Blink 182, Transplants and Box Car Racer to name a few — yet he has been working it since around two thousand and five. He has been cranking out high end remixes such as the latest “H.A.M.” remix that has blogs buzzing and is simply pure crack (the opera sample is ill). It may seem a stretch given the pop punk roots of one “TRVS BRKR” but in a short time he has amassed a very impressive hip hop resume and is currently one of the most sought out producers in the game; dude is hot right now.

After Blink and Transplants broke up about six years ago a time existed when Mr. Barker really had nothing going and was looking to just keep creating music as well as some sort of revenue. He got into more hip hop and drum and bass and had been hanging out with the late great DJ AM (rest in peace). Eventually he ended up producing “Late Night Creeping” — a track for one half of UGK’s Bun B on Trill — after Transplant was scheduled to do something on it but had broken up. After that he just never looked back and kept putting out fire and stacking tracks witch lead to the formulation of his solo offering the CD Give The Drummer Some.

His style is rather unique and all inclusive as no type of music is safe — he melds pop, synth, rap and rock with a splash of drum and bass when he creates. Genres are blurred when you hear songs like “On My Own” featuring Corey Taylor from Slipknot and “Cool Head” featuring Kid Cudi. It really is a breath of fresh air and it would seem the whole thing was a chance to begin with so he is not afraid to keep going that route i.e. keep taking chances. While it surprises no one that some people are going to be a tap skeptical of some of the music when you hear the serious 808’s that he has constructed you have to give props.

Blink 182 is superstar status in all fairness and has sold millions of records. It is really a testament to Mr. Barker and his artistic talents that he even feels a need to venture into other genres. He could just sit back and collect royalty checks but prefers to make hi end art. With a fresh outlook on the genre and, considering all the hollers of the stagnation in hip hop, you can then put two and two together and realize why he is so sought after. It is a copy cat league, sure, but for now I can not think of anyone who is making beats like him.

Currently on tour with Lil Wayne selling out venues all over and gearing up for another Blink 182 release, Mr. Barker is as relevant as ever and as any. With beats that knock you would have to be devoid of musical sense to deny the talent of the CEO of Famous Stars And Straps. If you do not like him I would wager a claim that your favorite artist does and like it or not he is here to stay.


Wiz Khalifa – Rolling Papers review

I am fan of Wiz Khalifa. I thoroughly enjoyed Burn After Rolling, Kush and Orange Juice and loved the mix tape he did with Curren$y — How Fly. I felt Cabin Fever, his latest official mix tape, was full of bangers as well yet felt a bit more safe if you will; it felt a lot more commercial. Usually what you find is that rappers are more akin to dropping the really bonkers stuff on their mix tapes and then the mainstream stuff on their major backed releases. What then would Rolling Papers hold for one who is admittedly a fan?

After “Black And Yellow” left no doubt about how much of a buzz the self proclaimed “Kushton Shlater” had amassed some in the hip hop community said he was leaning pop. Please excuse Wiz for making a hit. It is not his fault he is hot right now and just because he does not want to live in obscurity for the rest of his life does not mean he is not a talented artist. This song could not be escaped, but, if you take a step back it is still good.

Having listened to this CD in its entirety I am not sure you could come away not saying this is hip pop. If that is what you dig then you will most definitely be pleased with this album. It is hook heavy and has a lot of singing. No one can say that this is something new for Mr. Khalifa — he has always been hook heavy and dabbled in singing — what you can say is the direction that it has gone is something new. This is not the Kush and Orange Juice Wiz.

Fans of the Taylors will already know what it is. The content has not really changed but more so the delivery. A lot more singing then anything I have previously heard from Wiz. There are still heavy weed smoking anthems mixed in with 808’s but it feels like something is missing and it is hard to put a finger on it. It just feels really safe. This is the most commercial album I have heard in years and while that is not necessarily a bad thing, it is hard to give credence to that. The reason so many people fell in love with Wiz was because of songs like “The Thrill” and “In The Cut” that felt poppy yet hard body, provided something “new” and was somewhat edgy.

There is nothing that pushes the art on this cd. There is nothing that will blow you away and if that is ok with you then you will be fine with this. Rolling Papers is run of the mill and rather vanilla. Very formulaic in that A + B = C type of way; Stargate beat plus Wiz singing on a hook equals a hit. Nothing stands out nothing wows you, nothing leaves a staying taste in your mouth. The hardest verse on here is from the only guest appearance — Fly Spitta — on “Rooftops”. It would be shocking to hear that people were still listening to this in a couple months. Nothing about this CD resembles epic, in truth it is rather mediocre.

If someone told you they thought Rolling Papers was going to “change the game” or even really elevate it they were either misguided or being facetious. The phrase, “It is what it is” comes to mind. The CD, while not atrocious, is not magnificent and to me that’s a bit sad. For long time fans this CD will be either hit or miss. You either will like the newer pop leaning Wiz or you will not. Either way it is going to sell and sell it should that is what this Rolling Papers was made to do. Some are going in expecting full contact football but what you are left with is two hand touch.

Raekwon Reviews Wu-Tang Clan

Raekwon – Shaolin Vs Wu-Tang album review

Who would have thought that 17 years after 36 Chambers Raekwon the Chef would still be dropping bars that chop off heads. Shaolin VS Wu-Tang is a surprisingly strong album. After the track listing came out and the mention of no RZA was confirmed — RZA even lent a hand to Wu Massacre — word on the street was this album was going to be just another throwaway concept album. Fortunately for fans of The Wu, Rae had something to say about it.

All of the Wu fan boys are going to say that this album is bringing ’95 back and this is vintage Rae shining hard over beats. Guess what? They’re right. This is as good as anything that has come out of the Wu camp as of late. The God Rae goes ham with bars and holds his weight with no lapses. Tracks like “Dart School”, “Ferry Boat Killaz” and “The Scroll” are short and sweet but let you know that Rae still breathes fire. This feels like a Wu release even without RZA production and while I would not put it in the same category as Only Built For Cuban Linx, it stands on its own two feet.

This album is packed with tightly constructed lyrics that are both potent content wise and cadence wise. A track such as “Butterknives” is helped along by some of the sharpest bars ever heard from Rae. He still oozes “street knowledge” and cooks up that heady vernacular that one comes to expect.

Only a few legitimate arguments against SvsWT exist such as it’s length and lack of RZA. Fans may also initially shake their heads when they hear “Rock N Roll” featuring Ghostface Killah and Jim Jones, but the beat kicks and what you would think was the weak link — Jim Jones — actually holds his own. As far as the length, that complaint is somewhat legitimate.  A track like “Crane Style” featuring Busta Rhymes is short and sweet at a minute and fifty-five seconds but brutal and savage at the same time. Shaolin VS Wu-Tang is a bitter sweet endeavor in that aspect and yet this also helps add to the mystique.

Where is RZA? Some have speculated that the recent lack of a RZA presence on Wu member projects such as this project and Apollo Kids by Ghostface Killah is because of bad blood over Eight Diagrams. In any family arguments and conflicts are going to happen but Eight Diagrams was actually a good album so I am not sure what the issue is. If it is an issue or if it is not an issue still who really knows though the ones who suffer in the end are the fans because in reality RZA could have helped take a project like this, that is very good admittedly, and made it into a classic.

The guest spots came heavy on this CD and yes there are plenty of them. Black Thought, Method Man and Busta Rhymes stand out and all gave Rae the proverbial run for his money but it is he who shines like the sun. That is how it should be. This is hip hop at the core and an exemplary example of a album that just gets it. With so much fluff out there how could you not think the kids do not need more Wu? Wu is for the kids, after all.

Albums like this are a rarity in that this project accomplishes what it sets out to. A quick shot of some product right out of the vial; the high is intense and gone as soon as it came. The lyrics are guillotine sharp and the production is tight from Alchemist to DJ Khalil to Havoc to Bronze Nazareth, but no there is no RZA. What ever beef that is going on in house you know with the “Wu Chant (Outro)” that it is still going to be Wu-Tang forever. Thank God!

Lupe Fiasco Reviews

Lupe Fiasco – Lasers album review

Perception is reality and currently the perception of Lupe Fiasco and his new CD Lasers is not good. Who could honestly believe that the maker of classic albums such as The Cool and Food An Liquor could put out something less than mediocre especially considering the battle it was to get this album out. After three years of waiting Lasers, out March 8th, is here.

Most have heard about all the tug of war that went on with this album. Atlantic did not like singles Lupe was putting out and told him to change up his style, he refused and subsequently stalemate ensued in what escalated to a threat of thousands of people demonstrating unless Lasers was released. Here at last though, will his core fans really appreciate it? When you hear a track like “All Black Everything” you just wonder what this album could have been if Lupe had full creative control. A lot of people will really like this CD, but the fear seems to be that they will all be twelve year old white girls.

Drowning in guest appearances to the point that only a few songs exist with which Lupe is able to take the reigns, the absolute saddest thing is that of the few, two of those songs are titanic failures. “Till I Get There” is abysmal and “The Show Goes On” was so bad I wanted to just turn the whole thing off. The Modest Mouse sample from “Float On” was not appreciated. Heads will be put in hands when tracks like “State Run Radio” are played while fists may even rise to the heavens damning all with a listen of “Coming Up.” “Break The Chain” sounds like emo synth meets euro pop as opposed to witty 808-hop. Where is Lupe on his own album?

Lupe Fiasco is known for his hard hitting lyrics and crunchy beat selection. This project though is more a collage of “pop” music with some trite forgettable hooks. This is not the same production by any means. It would seem the beats are done by committee although none were a clear substitute for Prolyfic and/or Soundtrack. The direction this CD was trying to go is not easily understandable — it does not flow. Underneath a lot of that though is still a supremely gifted lyricist who can formulate a dope verse with the best of them.

This is not MGMT’s Congratulations — Fiasco did not take any risks, any chances. It is not so out there that it takes a couple of listens to decipher. How much is the label and how much is Lupe Fiasco himself is a question that pops into mind… The label politics that where taking place in between the three year hiatus signified to a lot of people that this album was going to be dangerous, hard hitting and unforgiving. Maybe this is the give back album considering it is the last he has to put out to fulfill his contractual obligations with Atlantic.

Lasers does not feel like a Lupe Fiasco album, it feels like a compilation album featuring Lupe. That being said critics mean naught often times in the eyes of the fan. The end product being such a heavily pop influenced album how will the core fans react? With all of the energy it took in order to drop this album though, I am surprised this is the end product. It is tough to believe this is the album he was fighting so vehemently for. While I am sure Lasers will not be the worst album this year it shall most surely not be the best.


Dr. Dre – State Of The Union

Dr Dre has come a long way in life. From the mean streets of Compton to what many would still argue is his current position, affixed atop the rap game. He has evolved as an artist since forming Ruthless Records with Ice Cube back in ’86 and come a long way yet, with the upcoming release of his new album Detox, The Doc once again has the streets engulfed with flame. With his album around the corner some have wondered if his work is worth the wait. Will The Doctor “save the West”? More important still, is Dr. Dre still relevant, and how will his new album effect his legacy?

A lot of people believe in quantity over quality. If you subscribe to that you are not going to be a fan of Dr Dre’s method of putting work out. Maybe one album every decade is not enough for you, emphatically so even. Why though does The Doc have such a stringent once in a blue moon policy? One of the positives of putting out a album every ten years is it disallows artists to succumb to the Lil Wayne effect — see law of diminishing returns. Of course he is worth the wait; ninety percent of the work the man has done has been excellent.

As the the king of G-funk, The Doctor has been said to be the leader of the supposedly downtrodden West  — some have gone as far as saying the release of Detox will be the West’s saving grace, putting it back at the forefront of the rap world. The man is a legend who put Compton on the map.  He has worked with countless icons and put his stamp on rap as much as any of them. Respected in every circle of music, when Detox comes out it is going to be excellent by all estimations and is going to go plaque. How one could think he owes the West anything is beyond comprehension, he is synonymous with the left coast.

How can one say Dre has not been relevant even with out actual albums — look at his presence on recent heavy weight albums like 50’s Before I Self Destruct and Eminem’s Recovery. Asking where he has been is more akin to asking where have you been? Only a handful of artists have stayed as relevant as Dre over his platinum plaque studded career. The fact that “Kush” has done so well does not serve as any kind of surprise for anyone because Dre always puts quality tunes out and people like good music. He himself may not drop albums every other day like Lil B Da Base God but he does stay relevant by dropping timely material that even if found in a time capsule a thousand years from now will still be considered ill.

Should he have just stopped at The Chronic? Some think that Dre has nothing left in the tank and he is not his former self. He is not putting out enough content, he is not relevant, and he has let the West down… Oh ye of little faith! He is one of the few commercially viable artists out there that still delivers a quality product. The man is a meticulous perfectionist and that is why it takes him years to drop albums. He has an ear for beats and an eye for talent. Snoop, Em, and 50 all owe a great deal to the man for his work post The Chronic . Dre is tried and true and should continue to make music for as long as he sees fit.

The Doc does not ease everyone’s pain but that is a feat none can conquer. He still has what it takes to rock the charts and put out good to great work pending on your musical tastes. He is cemented in the game as one of the figures on the Mount Rushmore of rap. The man is still relevant even without dropping a ton of content and his music is always worth the wait. Even if his latest project is a tad underwhelming it shall only be likened to a aged Jordan with the 45 on. It is not going to tarnish any legacy and he will go down as one of the greatest contributors to the craft that the game has ever or will ever witness.


Siagon: The Greatest Story Never Told album review

Although many people may have never heard of Saigon, he has been putting in quality work for almost a decade. This may be his first “official” album but the rapper has been steadily dropping quality since he burst upon the mixtape scene back in two thousand and two. He eventually found a home with super producer Just Blaze’s Fort Knocks Entertainment record label and has been trying to put out The Greatest Story Never Told ever since.

When it is said that this album is finally here that is an understatement.  Previously slated to appear on Atlantic it never saw the light because of label politics. The album is over four years old yet, according to the Yardfather(Saigon), it is, “ninety percent the same.” Naturally with a four year hiatus you are going to cool off and the buzz that Saigon once had, while not all that long gone, is no where near the level it was. Would the content have the same problem? People have been waiting for this release for years and that being said a gargantuan mess of hype is surrounding it. Could this album possibly be worth the wait?

This CD is rife with collaborations though not to the point of nausea. Jay-Z, Q-Tip, Layzie Bone, and Faith Hill are some of the conspirators enlisted yet it is Saigon and his gritty NY, Brownsville swag that take this album over the top. Passion permeates through the speakers and you can sense that this album was a personal one.

In essence this album, slated to come out on Suburban Noize Records February fifteenth, is hard hitting. You can see why Saigon held it so near and dear and did not simply release it digitally or bootleg it after all this time. He really believed that he had something special with The Greatest Story Never Told and, I would have to say after listening I agree with that consensus.  From front to back he beats you over the head with sharp wit that is conscious. I believe he could have done with out the skits but see how they may have been necessary to sculpt the mood. He pulled no punches.

Listening to this album you really get a feeling of fullness. Some have grown weary of the trite ABC pop raps that seem to be bombarding radio waves. You are not going to find any top forty hook heavy dance melodies on this one. What you will find is a politically charged street poet who throws some heavy content right at your kidneys. “Preacher”, “Enemies”, and “Better Way” show a different type of grit and they deliver a message as opposed to getting you to “drop it like it’s hot.”

For all intents and purposes this is a “older” album. “Believe It” leaked years ago but is no less hard hitting today. Siagon has put out a extremely well put together product from front to back and one that has withstood the test of time and still sounds fresh. The production is elite thanks mainly to Just Blaze who shows off his full arsenal. If I could lodge a small complaint it would be the length at which it took to put this CD out although, time did not rust the metal that is this finely constructed work of art. A true testament to the lyrical prowess that is Saigon.