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masterpiece
this man is a genius
The N.Y. Times Reviews Cam's Mixtape - "1 Of The Most Exciting Events o/The Year"
- Thread in 'Music' Thread starter Started by youngdipset20,
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dat sick kid
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un kasa wrote this review
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if you were impressed with that, you should have read the article in the Canadian wallstreet journal
clem rusty
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Does cam do the jackin for beats thing on this mixtape? If so which beats does he use?
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Purple Haze = CLASSIC
people call any old thing a classic these days. If an album has 3 good songs its now deemed a classic.
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commit that
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ScroogeMcBuckz
formerly aceboogie
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Purple Haze ain't no classic. Come Home With Me>>>>>>>>Purple Haze and I've yet to call that classic.
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Why are you so mad Jamar?
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seems like your the only one with sense in this thread
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CHWM > Purple Haze > Classic
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:big hat
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CHWM = Purple Haze > Classic
CHWM + Purple Haze > Everthing
CHWM + Purple Haze > Everthing
rudygay22uconn
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haha that and "banittles".
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^
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this ny times article is utter, biased trash. it fails to mention the tru life situation, cam's bizzare "in his boxers" video & the level ofhis hypeman playing him.
here's a probably more accurate review of the mixtape from pitchforkmedia.com, a site known to hug cam & the dips:
Cam'ron
Public Enemy #1
[Diplomat; 2007]
Rating: 6.9
Cam'ron offers several fun facts in the six-and-a-half-minute spoken word intro to his new 2xCD freebie mixtape. For example: Famed NYC DJ FunkmasterFlex's wife apparently answers to Mrs. Funkmaster Flex. Also, Cam is skeptical of the internet rumors that have surfaced over the last few months("Next time y'all doin' a movie, just send me my script...I promise I'll play my part a little better"). He still has love for one-timecohort Jim Jones, but he claims "ain't nothing lasting forever" (double-negative trickery?). Also of note, the MC claims the NYPD heavily relieson YouTube to keep track of meaningless hip-hop beefs. FYI: Cam occasionally flies commercial ("I flew commercial"). And his mom was sick this summer("I had a family emergency that took a few months of my time"). The opening tirade is like a gushing, post-vacation LiveJournal entry aimed at ananonymous commenter who %%#%#@@ about a lack of updates. It's stupefyingly specific, silly, and, within the insular snowglobe that is Dipset, it makesperfect sense.
Cam'ron is a drama queen; on his career pinnacle, Purple Haze, he spun explicit ghetto yarns on a song called "Soap Opera" and aired out aparticularly potty-mouthed phone conversation with an acquaintance on a skit called "I'm a Chicken Head". And, though he's now a grizzled vetpast his commercial prime, he still has a nagging need to set records (as well as possibly homoerotic utterances) straight. Last year's Killa Season turnedhis obsession with getting even into an annoyingly blaring cacophony filled with not-so-original threats and boasts. (The accompanying DIY film was a two-hourembarrassment that made Streets Is Watching look like The Godfather). Gone were the cucumber-smooth flights of fancy and cozy pop-soul beats that made Haze soendlessly repeatable, replaced with the hysterical insecurities of a man losing ground not only within hip-hop but within his own crew.
But, with Public Enemy, Cam is coming to peace with the fact that two of the rappers he nurtured to stardom-- Juelz Santana and Jim Jones-- have largelyeclipsed him in the public eye. He's still peeved about *****y Nah Right commenters, but he's not taking blatant and misguided shots at Jay-Z or 50Cent anymore. And, thankfully, Cam's occasionally infantile-yet-charming soft side is back, with some MF Doom-style plastic r&b instrumentals to boot.Yet, this is still a mixtape, and while its MySpace/mailing-list-scam distribution system may be forward thinking, Public Enemy suffers from traditionalmixtape trappings: too-long skits, too many underlings and just too much all around. iTunes tells me the tape boasts 2.1 hours of audio-- at least it'seasy to tell what to keep and what to send recycling into hard drive hell (click below to listen to a Pitchfork-approved abridged version).
The double-album's first eight tracks are startlingly stellar. "Why They" is a throwback to the Roc-A-Fella-era. With its Just Blaze-stylehigh-pitched pulse, the track is reminiscent of the woefully underrated posse album Diplomatic Immunity. The song doesn't berate, it swaggers. And Camreels off some finely tuned Dip-isms that casually conflate snack time with grind time: "I'm the cookie monster/ Yeah, Chips Ahoy!" The cartoongospel of "Calm Down", meanwhile, recalls Haze's "Harlem Streets", with Cam channeling Martin Lawrence's stressed-out Bad Boys copas he decompresses with trademark same-word rhymes like, "Strip club in the crib, not just the pole/ Lights flash, mirrors up, disco ball-- and I discoball." "Just Us" manages to make#$$*@%@ sex sound downright sweet and the self-effacing "Hot Mess" has Cam coining his best nicknamein ages ("Young 60 Minutes", in reference to his infamous "stop snitching" interview on the show) and more or less admitting to his Applefetish ("Fiends slept in front of my crib for two days straight like I had the iPhone"). After the disgusting skit about bugs in food, though, thingsget choppier.
Without Juelz or Jim, Cam recruits a couple fresh Dippers called Tom Gist (yes, that's his government name) and Penz to take their place. Safe to say, thisswitch marks a downgrade on all accounts. Gist handles most of the album's "miserable urban living" parables-- with dour tracks like "KillMy Dog" and "Think Out Loud", it sounds like the guy's biggest inspirations are Master P's "I Miss My Homies" and the movieCrash. Penz pumps out mechanized responses based on well-trodden mixtape themes. To emphasize his "versatility," the rapper/droid shows both his yinand yang on successive tracks called "Penz Sad" and "Killa Penz" near the end of the tape. (Could an Encino Man-style Dipset movie dubbedPenz Sad be that far away?) The new additions are good news for previous Dipset C-listers like 40 Cal and Hell Rell, who move up to the B-list by default and,by contrast or not, sound better than before-- 40's verse on "Troublemakers" is nearly Cam-worthy as it peaks with the hater-baiting line:"They baby moms' made me they screen saver."
Clearly, Cam is still out of his skull. No other rapper could or would make a sincere YouTube threat in their boxers or produce hilariously faux-verite"Where's Waldo"-style clips to promote their free mixtape. Public Enemy finds the Harlem native cooling out and giving up his quest to besttoday's commercial rap behemoths. He's even growing up a little. On the gorgeous slow jam "Let Me Know", he admits, "the sex is greatbut trust is the issue," and even leaves the possibility of rejection wide open: "If not tonight, text me though and let me...know." At longlast, another Cam'ron soap opera worth following.
-Ryan Dombal, November 15, 2007
here's a probably more accurate review of the mixtape from pitchforkmedia.com, a site known to hug cam & the dips:
Cam'ron
Public Enemy #1
[Diplomat; 2007]
Rating: 6.9
Cam'ron offers several fun facts in the six-and-a-half-minute spoken word intro to his new 2xCD freebie mixtape. For example: Famed NYC DJ FunkmasterFlex's wife apparently answers to Mrs. Funkmaster Flex. Also, Cam is skeptical of the internet rumors that have surfaced over the last few months("Next time y'all doin' a movie, just send me my script...I promise I'll play my part a little better"). He still has love for one-timecohort Jim Jones, but he claims "ain't nothing lasting forever" (double-negative trickery?). Also of note, the MC claims the NYPD heavily relieson YouTube to keep track of meaningless hip-hop beefs. FYI: Cam occasionally flies commercial ("I flew commercial"). And his mom was sick this summer("I had a family emergency that took a few months of my time"). The opening tirade is like a gushing, post-vacation LiveJournal entry aimed at ananonymous commenter who %%#%#@@ about a lack of updates. It's stupefyingly specific, silly, and, within the insular snowglobe that is Dipset, it makesperfect sense.
Cam'ron is a drama queen; on his career pinnacle, Purple Haze, he spun explicit ghetto yarns on a song called "Soap Opera" and aired out aparticularly potty-mouthed phone conversation with an acquaintance on a skit called "I'm a Chicken Head". And, though he's now a grizzled vetpast his commercial prime, he still has a nagging need to set records (as well as possibly homoerotic utterances) straight. Last year's Killa Season turnedhis obsession with getting even into an annoyingly blaring cacophony filled with not-so-original threats and boasts. (The accompanying DIY film was a two-hourembarrassment that made Streets Is Watching look like The Godfather). Gone were the cucumber-smooth flights of fancy and cozy pop-soul beats that made Haze soendlessly repeatable, replaced with the hysterical insecurities of a man losing ground not only within hip-hop but within his own crew.
But, with Public Enemy, Cam is coming to peace with the fact that two of the rappers he nurtured to stardom-- Juelz Santana and Jim Jones-- have largelyeclipsed him in the public eye. He's still peeved about *****y Nah Right commenters, but he's not taking blatant and misguided shots at Jay-Z or 50Cent anymore. And, thankfully, Cam's occasionally infantile-yet-charming soft side is back, with some MF Doom-style plastic r&b instrumentals to boot.Yet, this is still a mixtape, and while its MySpace/mailing-list-scam distribution system may be forward thinking, Public Enemy suffers from traditionalmixtape trappings: too-long skits, too many underlings and just too much all around. iTunes tells me the tape boasts 2.1 hours of audio-- at least it'seasy to tell what to keep and what to send recycling into hard drive hell (click below to listen to a Pitchfork-approved abridged version).
The double-album's first eight tracks are startlingly stellar. "Why They" is a throwback to the Roc-A-Fella-era. With its Just Blaze-stylehigh-pitched pulse, the track is reminiscent of the woefully underrated posse album Diplomatic Immunity. The song doesn't berate, it swaggers. And Camreels off some finely tuned Dip-isms that casually conflate snack time with grind time: "I'm the cookie monster/ Yeah, Chips Ahoy!" The cartoongospel of "Calm Down", meanwhile, recalls Haze's "Harlem Streets", with Cam channeling Martin Lawrence's stressed-out Bad Boys copas he decompresses with trademark same-word rhymes like, "Strip club in the crib, not just the pole/ Lights flash, mirrors up, disco ball-- and I discoball." "Just Us" manages to make#$$*@%@ sex sound downright sweet and the self-effacing "Hot Mess" has Cam coining his best nicknamein ages ("Young 60 Minutes", in reference to his infamous "stop snitching" interview on the show) and more or less admitting to his Applefetish ("Fiends slept in front of my crib for two days straight like I had the iPhone"). After the disgusting skit about bugs in food, though, thingsget choppier.
Without Juelz or Jim, Cam recruits a couple fresh Dippers called Tom Gist (yes, that's his government name) and Penz to take their place. Safe to say, thisswitch marks a downgrade on all accounts. Gist handles most of the album's "miserable urban living" parables-- with dour tracks like "KillMy Dog" and "Think Out Loud", it sounds like the guy's biggest inspirations are Master P's "I Miss My Homies" and the movieCrash. Penz pumps out mechanized responses based on well-trodden mixtape themes. To emphasize his "versatility," the rapper/droid shows both his yinand yang on successive tracks called "Penz Sad" and "Killa Penz" near the end of the tape. (Could an Encino Man-style Dipset movie dubbedPenz Sad be that far away?) The new additions are good news for previous Dipset C-listers like 40 Cal and Hell Rell, who move up to the B-list by default and,by contrast or not, sound better than before-- 40's verse on "Troublemakers" is nearly Cam-worthy as it peaks with the hater-baiting line:"They baby moms' made me they screen saver."
Clearly, Cam is still out of his skull. No other rapper could or would make a sincere YouTube threat in their boxers or produce hilariously faux-verite"Where's Waldo"-style clips to promote their free mixtape. Public Enemy finds the Harlem native cooling out and giving up his quest to besttoday's commercial rap behemoths. He's even growing up a little. On the gorgeous slow jam "Let Me Know", he admits, "the sex is greatbut trust is the issue," and even leaves the possibility of rejection wide open: "If not tonight, text me though and let me...know." At longlast, another Cam'ron soap opera worth following.
-Ryan Dombal, November 15, 2007
