Mc Shan Play It Again Shan Download
The last time we checked in with MC Shan was on his 1988 sophomore endeavour, Born To Be Wild, which I felt was average at best (y'all tin read my complete thoughts on BTBW by clicking this link), and I'd be willing to bet the majority of those who heard the anthology would hold. I'm as well sure that one person will read this post and tell me that I don't know shit about hip-hop and proclaim Born To Be Wild as the greatest anthology ever made, which is cool; considering art is subjective, and we tin can concord to disagree. Two years afterwards, Shan would return in 1990 to release his third and last album on Cold Chillin', Play Information technology Again, Shan.
For his first two albums, Shan relied solely on Marley Marl to sonically shape the sound of his music. This fourth dimension around, Marley doesn't receive a single production credit. Instead, Shan, along with John Ficarrotta (whom from this indicate on, I'll just refer to as "Shan-John") would produce the entire album. PIAS would produce a few trivial singles that resulted in poor albums sells, which may exist the reason Shan was dropped from Cold Chillin' afterwards its release. Shan claims his disappearance from the industry was fueled past record exec and television producer, Benny Medina, who allegedly had him black-balled after Shan refused his sexual advances and called him the f-word that rhymes with maggot. Shan also claims his refusal to sleep with Benny cost him the role that Will Smith would eventually go as the lead man on The Fresh Prince of Bel-Air. Personally, I find his outset claim more believable than the latter.
Let's bound into Play It Once again, Shan and promise information technology doesn't sound equally corny as the album comprehend looks.
Ain't It Good To You – This song starts with an epically funky suspension beat, before suddenly morphing into a techno vanquish that Shan uses to boast and talk his shit over. I could have washed without the female vocalist (Carole Davis) on the claw, just Shan finds his pocket and gives up quality bars; and I actually enjoyed the instrumental.
I Ran The Game – Shan spins a tale well-nigh two chicks he met in Wisconsin, Vivian and Polly, who have an elaborate plan to "wine and work him" over for his loot. But little exercise they know that Shan is scheming too (side note: Shan'southward clarification of Polly'southward "big bold donkey and rhinestone tits" sure sounds delicious!). Shan'due south story gets a footling hard to follow during the middle portion and the ending is anticlimactic, but information technology's still non a terrible song.
Ain't Information technology Funkin' – Shan continues to prove he tin spit solid bars, as he flows over the mystical sounds of Barry White's "I'm Gonna Love You Just A Little More Baby" and a funky harmonica loop. This was pretty dope.
Information technology Ain't A Hip-Hop Record – Shan-John hooks up a business firm vanquish that Shan uses to spend half of the song explaining why this is not a hip-hop record, and the other half telling the states that it's congenital on a hip-hop foundation. Contradiction, much. Shan sounds confused, the instrumental was dull, and you volition always lose cool points for repeating the same verse twice in a song.
Death Was Quite A Surprise – Shan uses this drab backdrop to share a tale about a dude named Tic-Tac, who goes from being a humble kid earning his coin legitimately to a big fourth dimension drug dealer; and I'm certain you lot figured out from the song title that things don't end well for Tic Tac (I'm convinced the simply reason Shan used Tic-Tac for the main character's name was to become off the "Tic-Tac's toe" line on the final verse). The instrumental and the storyline were blah, only I did enjoy the Richard Pryor vocal sample (which kind of sounds like Marley Marl's drunk uncle adlib vox) on the hook.
Walking On Sunshine – Shan-John hooks up stripped-down drums for Shan to talk his shit over, and they cleverly bring in a crude rock guitar loop and a polish vocal harmony sample (courtesy of Primal Line) in between the verses. This was dope, and hands one of the strongest songs on PIAS.
Rock Stuff – Based on the vocal title and the experimental experience of PIAS then far, I thought for sure our host was going to rap over a rock-flavored instrumental. Instead, he uses the plain Jane backdrop to rap a PSA about the dangers of crack cocaine. It was a noble human action to brand an anti-drug record, simply that doesn't negate the fact that this shit was corny.
Handclapping Your Easily – Shan takes a potty intermission and lets the female duo, Thou+Thou (pronounced "M and Grand" like the classic processed and the alias of the legendary Detroit emcee, Marshall Mathers) concord things downwardly while he tinkles. From the rhymes to the instrumental, this is zero more than a poorly executed imitation of JJ Fad's "Supersonic". Next…
Music You Can Dance To – Shan attempts to fuse state music with hip-hop on this one. Like you lot probably surmised after you read the previous judgement, it doesn't piece of work. The only dancing this song made me call up about doing was a square trip the light fantastic toe…and they all promenade.
Fourth dimension For The states To Defend Ourselves – Shan-John combines bangin' drums with a dark, blusterous and eerie sample to set the mood for Shan'south dimly lit content nearly police brutality in the black community: "Tales from the rhyme side, fact or fiction, I await at justice as pain infliction, sit back, relax while I bosom this, there's a large loophole in justice, police force enforcement to serve and protect, only in my neighborhood they pause your neck, police are ruthless-minded, wicked and villainous, but not but I run into your killin' us". Thirty years later, and Shan's content couldn't exist more relevant.
It Don't Mean A Thing – Shan continues to throw shit confronting the wall to see if it'll stick. This time he dabbles with a go-get shell and spews rhymes aimed at getting the listeners off their butts and on to the trip the light fantastic toe floor. The claw (which borrows the refrain from Ella Fitzgerald's classic of the same name and is sung by Carole Davis) is deadline laughable and Shan's rhymes are fluff, only I kind of enjoyed the go-go groove on this one…in a guilty pleasure kind of way.
I Want To Give thanks You lot – Shan continues to endeavor new things on PIAS. This time lickin' his singing chops for the first 2 verses and rapping near his gratitude for the lady he loves on the final verse. Shan receives a few helping easily, every bit he invites Kadejia Bass and Julia Brereton to sing the hook on this song that sounds like a hybrid between Taylor Dayne'south "Tell It To My Heart" and Shannon's "Let The Music Play". This was a blatant pop crossover endeavor that failed, miserably.
Got To Be Funky – Shan is joined on the mic by his lady, Terri (who besides graces the album comprehend, forth with their son, Lil' Shan aka Do-Practise.), and the lovebirds have turns trying to out rap each other over a smooth beat out and slim-thick bass line. Much respect to Shan for letting his Queen go a little shine time, but she shouldn't be rappin'; and fifty-fifty though the instrumental was pleasant, this song shouldn't exist.
Mic Line – Shan's back on his emcee shit with this one, as he spits adequate battle bars. The rhymes would have shined brighter over a stronger instrumental and without the corny hook.
How I Feel Nigh You – Shan closes the album with a dark instrumental that finds our host questioning the skeptical beliefs of his lady, and things come to a climactic ending on the final verse. This was mildly enjoyable.
Play It Once more, Shan sounds similar our host was making a last-ditch try at obtaining some form of commercial success. Shan throws caution to the air current and dabbles with stone, land, techno, house, get-get, popular; hell, he even tries to sing on a tape. Shan was nonetheless a competent emcee in 1990, and delivers some decent bars on PIAS, only all the experimentations result in a lackluster listen that runs a chip also long. PIAS isn't all bad, as at that place are a scattering of solid records. But within a xv song tracklist, those handful of songs apace get lost in the conflux of mediocrity and nostalgic, and ultimately, our host's (expect for information technology) Shan-nanigans (*rimshot*) practise the album in.
-Deedub
Source: https://timeisillmatic.me/2021/07/13/mc-shan-play-it-again-shan-april-11-1990/
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