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REVIEW:
Overall Rating:
 
Lyrics:
Beats:
Written By: A to the L [www.altrap.net]
Ghostface's
fourth solo album, and the first to drop the 'Killah' from
his name has been one of the most eagerly awaited albums of
2004. Following the disappointment of the glossy "Bulletproof
Wallets", Ghost fans were entitled to expect a return to the
form of the earlier "Supreme Clientele" and "Ironman" eras,
but when balanced against the fact that Ghostface was on a
new label, famed for fucking with artists output (see "Tical
0") it was understandable that they also treated the arrival
of the "PTA" with the same tight-bodied, expecting-the-worst
feelings of a naughty child about to receive an asswhupping.
It seemed though that with the release of first single 'Run'
to an expectant public, that Def Jam's 'commercial-commerical-commercial'
department has stayed in the back, and allowed Ghost to do
his own thing. Putting RZA on the beats was the first smart
move on this track, and the dark, needle-skipping feel of
the production was enhanced by Tony Starks bouncing wildly
off the rejuvenated-from-the-Gang-Starr-guest-appearance
Jadakiss. Following this up with 'Tush' though produced the
first signs that maybe the grubby mitts of the Def Jam team
weren't too far away from the album-making process after
all. Missy Elliott's ineffectual appearance drags down
Ghost's performance over the made-for-radio beat, resulting
in a rather damp quib instead of the hoped-for fireworks.
However I'm happy to report that after thoroughly checking
out the album, it seems that Ghost did largely succeed in
his battle to keep the beancounters off his back - only one
other track really carries an instantly commercial appeal
(the No ID-produced closer, 'Love' which features Musiq and
K Fox with the breathy R'n'B hook.)
Elsewhere, its almost classic Ghostface lyrics (half
strikingly onpoint, half nonsensical mumbo jumbo) delivered
in classic Ghostface style (emotive, often to the point of
tears), over classic Ghostface beats (you know the drill -
Starks has almost singlehandly made many producers start to
dig in the crates again to catch the Stax-era sound).
Cuts like 'Biscuits', 'Kunta Fly Shit' and 'Beat The Clock'
get the album off to a hardcore start, perhaps in an attempt
to totally lay to rest the glossy R'n'B ghosts from
"Wallets". 'Biscuits' is perfect in every way - from the
soulful True Master production which features classic
horns-to-die-for, to the interplay between Ghost and guest
Trife, to the actual delivery of Ghost himself, which flits
between hardcore Starks posturing one minute, and offkey
singing of violent threats the next. No other emcee can pull
this shit off. None.
'Metal Lungies' is perhaps one of the strongest cuts on the
whole album and continues in a similar vein - No ID laces
the track lovely with slithering strings and ominous horns
flitting in and out of the mix, as Ghost links up with the
other 2/3 of the Lox with perfect results. Though I'm no
great fan of the Lox brand of thug NY rap, they don't sound
out of place on this cut, seemingly inspired by the antics
of Starks on the mic who one minute sounds like an extra
from 'The Mack', the next an escapee from Bellevue...
"Deattach wigs, kill flunkies on contact son see,
Didn't mommy tell y'all niggas to wear clean undies?
See - y'all shoulda listened to her,
She knew her son had a big mouth, and one day death would
occur,
Please for Ms. Gale's sake, and her seeds
Pass the flurry, ain't fuckin' around, they knocked to her
weave"
One of the other things that stands out throughout this
album is the fact that some of the samples that get flipped
aren't obscure in the slightest, but somehow Ghost's
enthusiasm as he attacks the track makes the shit still
sound fresh. Check 'Save Me Dear' where Ghostface himself
produces the track using an old Freddie Scott cut - at times
he even drops lyrics over Scott's looped vocals, almost as
if the sample was cued up all wrong. As you may know Ghost
is famed for this, and his presence here donates a lovable
quality to a track which would have any other emcee
condemned for using such a sloppy loop. Similarly, 'Its
Over' sees the Hiphop-friendly 'I'm Afraid The Masquerade Is
Over' track again being utilised as a base for a cut, and
the Delfonics back catalogue being borrowed heavily from on
'Holla' and again Ghost gets away with it in both cases.
Elsewhere, many will feel that 'Ghostface' is a logical
followup to 'Cherchez LeGhost' and 'Ghost Showers'. Like
these two cuts, 'Ghostface' is an uptempo crossover club
hit, with a heavy percussion track (this one sampling
elements from Kurtis Blow's 'AJ Scratch') and a sultry
female hook.
The last portion of the album finishes off extremely
strongly with the Nottz-produced duo of 'Be This Way' and 'Tooken
Back' leading the way. The latter cut sees Ghost inviting
the Miami Mami, Jacki-O, into the studio to lay down some
vocals, and over some catchy work with the samples by Nottz,
the chemistry between Ghost and Jacki is captured perfectly.
The ever-welcome 'Run' and the already mentioned 'Love'
finish things off strongly indeed.
Despite the fact that this is one of the best albums of the
year, and the fact that it will feature on many people's
annual top ten lists, this is still a bittersweet album to
listen to. Why? Well, rumour has it that a gang of cuts were
left off the album due to Def Jam refusing to cough up the
cash to clear the samples used. In the weeks leading up to
the album release Ghost cleverly leaked these cuts - a whole
other album's worth - and its hard to argue against their
inclusion on here - every single one is worthy of your cash.
Unfortunately unless Def Jam put their hand in their
pockets, they're likely to be confined to mp3 sharing and
white labels only. It's a shame, because with the inclusion
of a few of these in favour of 'Love' or 'Tush' a near
perfect album, would have attained classic status.
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