B-Real – Smoke N Mirrors

    It’s taken
    18 years, but B-Real [click to read] has finally gone solo…kinda.
    Cypress Hill’s frontman is following groupmates DJ
    Muggs [click to read] Eric Bobo
    [click to read] and Sen Dog [click to read] by releasing his own project
    apart from the L.A.-based foursome before Hip Hop’s first
    Latino superstars reunite for their eighth full-length later this
    year. Having partnered his Audio Hustlaz production company
    with indie powerhouse Duck Down (as the label continues to
    expand its roster beyond Boot Camp Clik members), Real
    has finally delivered his long-delayed solo debut. With two standout
    singles (and a couple other noteworthy selections) masking its mostly
    middle-of-the-road tracks, the album is maybe appropriately titled
    Smoke N Mirrors.

    SNM gets
    off to a thunderous start courtesy of Scoop Deville’s
    bass-heavy remake of The Stylistics ’70s soul
    classic “Children Of The Night” (which is inexplicably
    billed as Smoke N Mirrors title-track). And while onetime Dove
    Shack
    vocalist Bo Roc’s crooned chorus slows down
    the songs momentum somewhat, B-Real’s lament on the
    struggles of living that late night street life atop Scoop’s
    stellar sample flip makes for an impressive reinterpretation of the
    Stylistics original.

    West coast
    producer-on-the-rise, and son of Latin rap forefather Kid Frost,
    Scoop Deville contributes another one of the album’s
    standout sonics via its lead single, “Don’t Ya Dare
    Laugh,” by uniting a Dr. Dre-esque foundation of ominous
    piano chords and blipping synths with a cleverly-used vocal sample
    from Suzanne Vega’s 1987 pop-smash “Tom’s
    Diner.”

    But the polished
    productions on SNM aren’t limited to Scoop’s
    two contributions. B-Real himself jumps behind the boards
    for the more traditionally experimental Cypress-style jams
    “Fire” [click to listen] (the album’s second single) and “1
    Life.” The former being a Reggae-driven collaboration with Nas’
    new musical partner Damian Marley, wherein which the
    Smoke-a-Thon participant pays homage to that sticky icky. And the
    latter being a Spanish-guitar-and-trumpet blessed reunion with Sen
    Dog
    featuring the “Latin thugs” spitting in
    Spanglish.

    However, outside
    of the few aforementioned highlights, chinks in the sonic armor of
    SNM become audible very quickly. Most of the album’s
    remaining production ranges from listenable midtempo Westside
    soundscapes courtesy of Audio Hustlaz beatsmith J. Turner
    (the pinnacle of his four productions being for B-Real’s
    story of a dealer and his wanna be jacker on “Dude Vs. Homie”)
    to horribly generic creations like Fifth’s synth-string
    laden “Get That Dough.”

    Leaning towards
    the tolerable but not quite standout side are the self-produced “Dr.
    Hyphenstein” (which sports powerful hydraulic drums, but is
    tarnished by Snoop Dogg’s painfully obvious freestyled
    verse) and the Alchemist [click to red] laced “6 Minutes,” whose
    menacing track seems to lose its growl as the song progresses,
    suffocating Real’s detailing of how here today, gone
    tomorrow rappers rise and fall.

    And tipping
    towards the completely uninspired side of the sound spectrum is
    “Everything U Want,” wherein the sole appearance from a
    member of Real’s new Duck Down familia is
    squandered. Buckshot’s scolding of less grind-minded
    artists is sacrificed to Soopafly’s lazily chopped
    orchestral sample (Soopa’s surprisingly subpar “PSA”
    inspired production on “Gangsta Music” isn’t much
    better).

    With no
    trackwork from DJ Muggs, SNM is ultimately missing the
    Bomb Squad-meets-bong smoke-inspired psychedelia of classic
    Cypress. And in an apparent attempt to separate his solo
    offering from his contributions to the Hill, Real has
    not only foregone working with his longtime audio provider but has
    also tried to tame the more helium-sounding stretches to his
    signature nasal delivery. Unfortunately this less laidback and more
    mechanical sounding approach leaves Real’s staccato flow
    sounding uneasy a great deal of the time (with rushed rhymes
    oftentimes crammed into bars).

    But B-Real
    shows that he is capable of crafting a captivating verse even within
    these self-imposed sound and style constraints, overpowering fellow
    Audio Hustla Salaam Wreck’s cheesy bounce beat on “When
    They Hate You” to engagingly explain what would’ve
    happened had he not left the streets for the rap game: “When
    I spit it I’m committed, it’s a blessing, I’m
    grateful / Could’ve been one of the many feeling bitter and
    hateful / Could’ve gave up on my dreams, steady bangin’ and
    slangin’ / Servin’ fiends on the corner with the red rag
    hangin’.

    And while it
    should be noted that had Scoop Deville produced more of its
    tracks, and the unimpressive cameos from B-Real protégé,
    and Tangled Thoughts emcee, Young De [click to read] (who appears on a
    third of the album’s cuts) been left on the cutting room floor,
    a much less uneven effort would have likely emerged, Smoke N
    Mirrors
    is proof that nothing can mask the fact that after nearly
    two decades B-Real still has the magic touch on the mic.

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