Big Shug has really been on his grind lately. After run-ins with the law and other various troubles kept him off Hip Hop’s battlefield for almost a decade, the Boston-based soldier has released his second album in as many years [click to read]. The Gang StarrFoundation member doesn’t deliver more than what you expect of him with Otherside of the Game. For some, that’s a relief, as they expect that hardcore grit sound that they are familiar with. For others, they may just notice that this album doesn’t address anything that turned them away in the first place.
When most think of Big Shug, they are most comforted by the fact that DJ Premier himself is doing his beats. On “My Boston” [click to listen] the DJ Premier sets up quite the city anthem. The pulsing bass and jamming keys easily remind anyone that it isn’t just the home of championship sports teams. Preme‘s signature cuts turn a solid beat into a great one. Lyricists Singapore Kane and Termanology [click to read] join Big Shug and go in. Term steals the show however; maximizing the beat as if was a message that had to get out.
Even though Preme is the biggest producer on this disc, its best collective work comes from MoSS. The work between him and Big Shug create some of the best solo work on the disc. For proof, look no further than “Murdapan.” The whining guitar riffs mixed with the overbearing bass guitar create an environment for Big Shug to shine. Shug mixes a slow rugged flow to bring the listener into his experience. MoSS also crafts a great collaboration beat on “Militant Soldiers 2.” He mixes a heavy brass section with a strong rhythm section to give the feeling of a battle march. He adds that with some cuts as the hook and pushes each rapper, Big Shug, Singapore Kane, and Blaq Poet, to turn in some potent verses.
The disc’s standout however, happens to be “What it Means.” The whining rhythm layered over the repeating sample really gives credit to producer Soul Professa. The track is given serviceable verses from Big Shug and Frankie Wainwright that are enough to get your head nodding. It is pushed form the realm of good song to disc standout when Billy Danze of M.O.P. hits the mic. His energy is unmatched by anything on the Otherside of the Game.
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That is the Otherside of the Game‘s main flaw. Big Shug never takes control of a track he is accompanied on; he is constantly outshined by his associates, whether it is Termanology, Billy Danze, or Singapore Kane.
The album also loses feeling at its ends. Both the intro, even though being helmed by DJ Premier‘s production, is something to snooze at. Both tracks “Soundtrack” and “When I Strike” don’t feel as inspired as the jewels found at the middle of the disc. It feels the same way at the end, with “Young Death” and “Keep Calling Me.” The beats really outshine him there, and Shug just can’t keep up.
Compared to Guru or Jeru The Damaja, Big Shug never was at the top of the lyricist pool in The Gang Starr Foundation. However, as a rapper, he knows how to stay in his lane and pick beats that will grab your attention. Even if sometimes those beats outclass him. For a fan of Big Shug, and the Gang Starr history, there are plenty for cuts for you to enjoy on here. Just don’t expect to play it after the next release comes around.
