KRS-One is back at the controls and appears uninterested in changing the stark production formula he employed for Kool & Deadly. Of more interest is Just-Ice's rhymes, which have taken on a more detailed and darker worldview -- on "Welfare Recipient" he delivers savage ghetto prose of a kind perhaps only the Geto Boys and Ghostface Killah have matched. He's also been listening to Jamaican dancehall records -- at the time in New York, there appeared to be a real crossover between the two genres -- and he chats in an ...
Read More
KRS-One is back at the controls and appears uninterested in changing the stark production formula he employed for Kool & Deadly. Of more interest is Just-Ice's rhymes, which have taken on a more detailed and darker worldview -- on "Welfare Recipient" he delivers savage ghetto prose of a kind perhaps only the Geto Boys and Ghostface Killah have matched. He's also been listening to Jamaican dancehall records -- at the time in New York, there appeared to be a real crossover between the two genres -- and he chats in an effective ragamuffin style on "Sleng Teng" and "Na Touch da Just." Not a bad record by any means, but the limitations of Just-Ice's rhyming style and KRS-One's inability to develop his musical soundscape beyond elemental posed real problems for both of them as 1990 dawned and West Coast G-funk was about to sweep all before it. ~ Garth Cartwright, Rovi
Read Less
