Send "Mobb Deep " Ringtones to your Cell 
| Pitchfork |
But while @PRODIGYMOBBDEEP is more than capable of reminding us never to question his trendsetting nor what he brought to the table, very little of that batshit sense of purpose or fun makes it to Black Cocaine. The trouble isn't that Havoc and Prodigy have run out of things to say, or that they don't really have much to rap about anymore-- they're real, you're shook, and Prodigy will almost certainly have sex with your woman if only to make your bitch ass realize your own capability for being shook. That shit obviously never goes out of style, but rather than the likely legitimate insanity Prodigy flexed on 2007's Return of the Mac, the two wring inspiration from that mode with the stubbornness of trying to get that last bit of toothpaste out the tube. Once the author of the illest first lines ("Quiet Storm", "Shook Ones, Pt. II", the list goes on), Prodigy hardly comes up with one memorable rhyme during the entirety of Black Cocaine-- we get brief teases at Illuminati P conspiracy theorizing, but little anyone who's seen a one dollar bill couldn't come up with. Likewise, Havoc delivers bar after bar of near-mesmeric placeholders, but he does boast about having "a ledger on my MacBook," so now you know Excel is the spreadsheet of choice for dunn accountants. Still, at least they're not fronting like club attendees or sex symbols anymore, and any remnant of G-Unit factory production is swapped out for wheelhouse Mobb with plenty of synthesized horns and ice-grilled hi-hats. But the title track and "Conquer" just remind me of any number of Infamy deep cuts whose titles escape me and whose quality doesn't inspire me to find out. If nothing else, you can be happy that Alchemist is inevitably involved, and I seriously doubt anyone's still holding "Takeover" against them if Nas isn't. While it's a distinct pleasure to hear Queensbridge's finest reconcile their differences, it's a distinct disappointment all the same at the utter lack of spark present on "Get It Forever": Nastradamus is considered one of the least-inspired hip-hop records ever made, and even then, these guys could still come up with something as bracing and utterly badass as "Family". And you can also admire the stylistic window dressing as Hav and P try some kind of weird upper register flow on "Dead Man Shoes". But they never find their footing, while you can imagine Bounty Killa spending the pauses during his offbeat hook wondering whether Gwen Stefani still has his phone number....full text |
| Hiphopdx |
| With the charts decidedly dominated by acts based outside of the Empire State, loyal listeners of New York City gritty Hip Hop this month turn their lonely eyes and ears to Queens as Havoc and Prodigy traffic the goods with the Black Cocaine EP, Mobb Deep’s first studio release in several years. Five tracks might not be enough for rabid Infamous fans who have patiently waited for this event since Prodigy finished his prison term this past spring; but Black Cocaine soundly and efficiently serves its implicit purpose: to whet appetites until Hav and P drop their next long play. Heavy on threats, light on concepts, Cocaine delivers more familiar Mobb music, that which defined an era and provided the soundtrack to crime rhyme life in the Rotten Apple – especially in the outer boroughs. This bullet-train ride begins rather inauspiciously, though, with “Dead Man Shoes,” a standard murder movement over plodding, militant drums. Bounty Killa appears for what simply feels like an uninspired hook (Cocaine is cut with these); it does not detract from the track, but fails to add anything to it. The title track finds Hav and P reuniting with The Alchemist, and it feels so good. Mr. Maman has a knack for bringing out the best in the artists with whom he works; and the dust-crown dynamic between the three is well known and appreciated. Smooth drums, killer keys and filthy verses – “Black Cocaine” is another example of a proper product born of the right rap relationship. So it should come as no surprise that Al’s cinematic sound drives the EP’s strongest track, “Get it Forever.” A seemingly reinvigorated Nas picks up the package, joining the Mobb for a dirt-infused diatribe crafted from the perch of a project park bench. It’s cold-hearted quality, and may remind some of past triple-threat gems such as “Live Nigga Rap” or “It’s Mine.” Their collaborative efforts often deftly depict the soulless nature of street life, but there is an undeniable sinister soul in every Mobb-Nas creation. The guitar-driven “Last Days” wraps up this solid extended-play effort smuggled to murder music junkies by the pioneering tag-team from Queens....full text |
| Allhiphop |
| When Prodigy of Mobb Deep was incarcerated on gun possession charges, it seemed as though the legendary group was all about done. After a classic entry into the game in the 90’s, the Queensbridge duo had since been on the decline, commercially and critically. And after a brief and failed stint with G-Unit, this prison sentence seemed like the final blow to the tired collective. However, upon release earlier this year, Prodigy and Mobb Deep went right back to work, business as usual. The Black Cocaine EP quickly gained buzz and questions from listeners wondering if the two could still, for lack of a better term, bring it. It was a fair question, as Havoc has been the only one of the two continuing to make music (scarcely) and thus, stay sharp. Not to mention the fact of not having a label, not having worked with each other professionally in a couple of years, and possibly, not having the age. Things are looking quite dark for Mobb Deep. But that’s what has brought them success over the years; dark music. The EP starts off with “Dead Man’s Shoes,” a dark, murky introduction. While the beat brings back familiar tones, the lyrics are average and neither the two, nor guest Bounty Killa, seems to find their appropriate place on the track. Still though, the mood is set. Which serves as a bridge to the second, and better, song, “Black Cocaine.” Produced by long-time collaborator The Alchemist, the Mobb sounds comfortable over the usual cerebral sounds matched by their low buzz of intense rhymes. On the first cut, the duo sounds incredibly aged and partially out of touch with the art. But it’s almost as if that was nothing more than a ‘warm-up shot’, as the EP begins to take its form after....full text |
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