Song: Record Report Singles: Paris – The Hate That Hate Made
Viewed: 61 - Published at: 2 years ago
Artist: Davy DMX
Year: 2013Viewed: 61 - Published at: 2 years ago
”The Hate That Hate Made” b/w “Wretched” “Lights, Camera, Revolution”
Tommy Boy
Production: Artist
Rating: 3.5
Make way for P-Dog the “Bush” killer, cop killer, Black urban guerilla, cause he’s back on the hip-hop scene with a scorching extended remix of “The Hate That Hate Made,” a song that’s based upon the tragic Yusef Hawkins killing. On his debut LP, The Devil Made Me Do It, the song’s 1:09 minute spin time was far too short. On the remix, P-Dog extends the song to 3 minutes by adding some extra verses, additional percussion, fat breakbeats and highlights the song’s original (non sampled) bassline. The production is crisp and I’m glad to see that Paris is on of the increasing number of artists opting to use original music. I suppose it helps that he’s an accomplished musician who can play 4 different instruments.
Lyrically, Paris strikes hard with uncompromising rhymes between Rakim and LL. He hits hard when he talk about avenging Yusef’s death by coming much “sicker with the retribute.” The only drawback on this song is that there’s no intro. Paris starts kicking flavor on the first beat, so DJ’s will want to invest in two copies and cut back and forth.
Flip this jammie over and there’s a more dance/club orientated remix of “Wretched.” Clocking at 120 bpms, this song compromises more of the elements that have come to personify Paris’ sound including that ever present ominous bassline. In “Wretched,” Paris unyieldingly addresses the issue of Uncle Toms-ism and Bubbyism within the Black community. He slams those who’ve “made it” and forget their Blackness either by choice or by letting themselves be brainwashed.
Finally there’s a previously unreleased track entitled “Light, Camera, Revolution.” This barebones militant groove comes in at 96 bpms and seems designed to showcase Paris’ lyrical finesse. Tom-tom drums are used as the main back track while a houselike, moody synthesizer occasionally punctuates the jam giving it an underground back-in-a-dark-alley feel.
Overall this single is pretty decent, just for the title cut alone. Paris a gifted lyricist who is very committed to the militant messages he espouses. Presently, he’s working on an EP and I’m sure he’ll continue to grow as an artist.
Tommy Boy
Production: Artist
Rating: 3.5
Make way for P-Dog the “Bush” killer, cop killer, Black urban guerilla, cause he’s back on the hip-hop scene with a scorching extended remix of “The Hate That Hate Made,” a song that’s based upon the tragic Yusef Hawkins killing. On his debut LP, The Devil Made Me Do It, the song’s 1:09 minute spin time was far too short. On the remix, P-Dog extends the song to 3 minutes by adding some extra verses, additional percussion, fat breakbeats and highlights the song’s original (non sampled) bassline. The production is crisp and I’m glad to see that Paris is on of the increasing number of artists opting to use original music. I suppose it helps that he’s an accomplished musician who can play 4 different instruments.
Lyrically, Paris strikes hard with uncompromising rhymes between Rakim and LL. He hits hard when he talk about avenging Yusef’s death by coming much “sicker with the retribute.” The only drawback on this song is that there’s no intro. Paris starts kicking flavor on the first beat, so DJ’s will want to invest in two copies and cut back and forth.
Flip this jammie over and there’s a more dance/club orientated remix of “Wretched.” Clocking at 120 bpms, this song compromises more of the elements that have come to personify Paris’ sound including that ever present ominous bassline. In “Wretched,” Paris unyieldingly addresses the issue of Uncle Toms-ism and Bubbyism within the Black community. He slams those who’ve “made it” and forget their Blackness either by choice or by letting themselves be brainwashed.
Finally there’s a previously unreleased track entitled “Light, Camera, Revolution.” This barebones militant groove comes in at 96 bpms and seems designed to showcase Paris’ lyrical finesse. Tom-tom drums are used as the main back track while a houselike, moody synthesizer occasionally punctuates the jam giving it an underground back-in-a-dark-alley feel.
Overall this single is pretty decent, just for the title cut alone. Paris a gifted lyricist who is very committed to the militant messages he espouses. Presently, he’s working on an EP and I’m sure he’ll continue to grow as an artist.
( Davy DMX )
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