Pete Rock - NY’S Finest Review
Posted by Phil Watts, Jr on 03.04.2008
2008: The Chocolate Boy Wonder returns…again. By the way, the “NY’s Finest” refers to Pete himself. Modest, no?
(2008, Nature Sounds Records)
[NOTE: This is a review of the CD version. There is also a downloadable version of this album which has a bonus cut, “Gangsta Boogie” featuring T3 & Elzhi of Slum Village.]
It’s been a somewhat rocky road for the Soul Brother, with his last label, BBE, releasing his old material and his unfinished work without his permission, and the ugly break-up with his long-time partner, C.L. Smooth. Now, Pete has put all that behind him and is moving on, signing to a new label, Nature Sounds, and with that comes another compilation album. A lot of people are wondering if he’ll ever go back to producing full projects with just one artist or group again, by hey--any excuse for new Pete Rock beats is a good one…right?
So after a collage of soul samples and vocal snippets to start the album off nicely, we have…
“We Roll” with Jim Jones and Max B: I have to give Jim Jones some props. A while back, Jim enlisted Pete Rock to produced a song called "G'z Up" for his album, HARLEM: THE DIARY OF A SUMMER, giving 300,000 people the opportunity to know who PR is. Hopefully, with the proper promotion, Jim Jones’ mainstream HOT-HOT-HOT star status will draw some of those 300,000 people over to the record store to cop NY’s FINEST. Here is hoping the risk will pay off…because that is the only redeeming value this song has. Let’s be truthful: THIS SONG IS HORRIBLE. Pete’s use of Kool & The Gang synth samples makes it sound a bit too awkard. To make matterS worse, Jim Jones and Max B sound lazy as hell! But hey…whatever it takes to draw new fans, right?
“Til I Retire”: The obligatory PR solo track. For the first time since the days of being ghostwritten by Grand Puba (Find the MECCA & THE SOUL BROTHER album and look for the name “Maxwell Dixon” in the credits of any song featuring Pete on the mic. That’s him.), Pete is more confident on the mic than he’s ever been. It’s hard to front on such lines like, “More bars than Alcatraz--just call me THE ROCK!”, or OWWW at the subliminal snipe at his former partner (“You say you made me--then MAKE ANOTHER PETE!”)…until you look in the credits, see the “E. Baptista” in the ‘written by’ credits of every song Pete has a verse in, and wonder if he’s still accepting ghostwriters. At least Dr. Dre is no longer by himself in that department. Still, this is as good as it gets when it comes to PR solo cuts.
“914” with Sheek & Styles: This was one of the first singles off the album. Pete takes two of the three often-used samples that made Stezo’s “It’s My Turn” a hit and gives two of the three members of the LOX their best non-ALC beat in years. It’s a shame that Jada couldn’t take part in this, though…
“Questions”, with Royal Flush: Ah yes…the mid-to-late 90’s. Where Puff & Dupri began their reign of terror in the mainstream world, everyone became walking billboards for Cristal, creativity was at an all-time low, and every rapper made songs and videos fronting like they’re rich…even if they operated under a shit budget! After the GHETTO MILLIONIARE album (which had such unforgettable hits like “Worldwide” and “Iced Out Medallions”), Royal Flush pretty much disappeared. Count on Pete Rock to not only bring him back, but to also give him one of the illest songs on the album! Pete concocts one of the most sinister beats he’s ever done, with sweeping flutes and horns (and the ever-present bassline), while Flush talks abut his hits (such as they are), his street cred, and his married life (“You the fuck right--I GOT RID OF THAT BITCH!!!”)
“Best Believe” with Redman & LD: Things start off well, with Redman doing his usual off-the-wall shit…but then, Pete gives us his second dumbest hook ever--”Best believe we get high--nigga/Best believe we get fly--nigga/best believe we get by--nigga/LALALALALALA!” Message to any rapper working with Pete Rock: next time he comes up with another hook with “LALALA” in it, pop him upside his head, please? Thank you.
“Ready Fe War” with Chip-Fu & Renee of Zhane: I recall some years ago shortly after releasing PETSTRUMENTALS where he said that he was going to attempt some reggae in the future. Pete makes his first crack at it here. After about a minute and some change off somebody telling us the spiritual and political importance of Jamaican cuss words, Pete gives us a pretty by-the-numbers reggae joint with Chip doing the dance hall routine (while doing enough of the tongue-twisting shit to let people know that he’s that same cat from the FuShnickens.) Problem is, things go all to hell when Pete tries his hand at it, completely embarrassing himself. OUCH. He should’ve just let Chip & Renee have the floor and stayed behind the boards.
“Don’t Be Mad”: This track was produced by Eminem’s former DJ, Green Lantern. While GL’s funk chopping attempt is nothing that Pete couldn’t have done better himself, this track is not that bad by any means. This is another Pete solo joint, where he talks about his career and how he, Heavy D, Eddie F, and CL Smooth all used to be buds.
“Bring Y’all Back” with Pooh, Phonte & Scudda: North Carolina continues to represent, as the “Lovin It” trio jumps on board as Pete brings us some Philly-International style arrangement for them. Yeah, they give us their usual, but as long as it’s not any more “our fans keep putting us in a box/I do music for ME” bullshit (really, guys--stop it), I’m happy.
“The Best Secret” with The Lords Of the Underground: Have you ever been in a situation where you liked an artist or a group a long time ago, with their music still in your head, and one day--POOF--you don’t here from them again? Then the next time you hear from them, they sound so different from what they were? You almost wonder if they are the same guys or just some cover group. That’s the situation with this song right here, as DoItAll and Funkeman, while doing a decent job here, sounds so unrecognizable that you wouldn’t be able to tell that it’s them if not for “The Lords” being scratched in the background.
“That’s What I’m Talking About” with Rell: Pete makes another attempt at the obligatory girly-girl joint, this time with a track that kinda brings to mind the Solar sound (the label, not the guy that Guru is foolishly trying to replace Premier with). If they would’ve replaced Rell with Howard Hewitt or the Whispers, it wouldn’t seem forced at all!
“The PJ’s” with Raekwon & Masta Killa: Another single off the album, as Pete takes the sample that Large Professor made famous in “Mad Scientist” and reworks it his own way. That’s the beauty behind Hip-Hop. Everyone bellyaches about how unoriginal sampling is, by doesn’t realize that it’s not what’s being used but HOW it’s used that matters the most. Meanwhile, Raekwon had better find a way to fit Pete Rock somewhere in CUBAN LINX 2, because songs like this is what that album needs.
“Made Man”: Pete should’ve taken the ‘not what you use but how you use it’ rule and applied it to this too, because I liked this song better when Noreaga called it “The Assignment”. It’s another PR solo track that just doesn’t work as well as the others.
“Let’s Go” with DJ Doo Wop: As short, funk-filled romp where the annoying mixtape DJ tries to rap. Not bad, but there are better artists that could’ve taken this beat and really worked it.
“Comprehend” with Papoose: The album finale (or the second to the last song if you bought the download), where Pete gives us a spaced-out Slum Vill-ish track so that Papoose can brag about his mixtapes again. Papoose is a sad case. Here’s a guy with lots of potential, yet he’s been on the UP & COMING list for years and is content on just yelling and screaming on mixtapes. And the only time he did get signed, he goes to the same label that jerked A Tribe Called Quest, Souls of Mischief, and KRS, while thinking the same won’t happen to him (which it did). Here is a man that definitely needs a direction in his career and someone who can unlock that potential. So…how about it, Pete? Want to give it a shot?
THE GOOD (NY’s FINEST‘s finest): “Til I Retire”, “914”, “Questions”, “Bring Y’all Back”, “That’s What I’m Talking About”, “The PJ’s”, “Comprehend”
THE BAD (NY’s Not-So-FINEST): “We Roll”, Pete’s dumb-ass hook in “Best Believe”, Pete’s dumb-ass reggae verse in “Ready Fe War”, “Made Man”
The 411: Pete Rock has brought back the excitement factor that made SOUL SURVIVOR 1 great. He’s brought in a wide variety of guests, from current movers and shakers to names you haven’t heard in years, and has stepped it up beatwise. However, he’s also brought back some of its flaws, like Pete inserting himself into places where it’s best to just let the guests do their thing. Flaws aside, this is a pretty solid album, and another notch in Pete’s discography. And those of you that do have a problem with some of the vocal performances need not worry--be on the lookout for the INSTRUMENTAL version!
