There’s not a whole lot to say about Pete Rock that hasn’t been said before. Considering he’s of the premier (no pun intended) producers in all of hip hop, I’d imagine that the initial response to hearing about NY’s Finest would have been similar to my own: “NY emcees rhyming over Pete Rock tracks? Sign me up!”
Unfortunately, only after viewing the guest list does one realize that they’re in for a bumpy ride. New York heavyweights Styles P., Sheek Louch, Raekwon and Masta Killa are all promising guests on any track – let alone over Pete Rock beats. But then head-scratchers such Jim Jones, Max B and Papoose make it seem like NY’s Finest might just be doomed to mediocrity.
The album kicks it off with “We Roll,” which features Jim Jones and Max B over a feel-good funky beat. Whether or not you hate “Ballin’,” it’s undeniable that Jim Jones has a charisma that shines – regardless of the fact that he perpetually looks as if he’s in desperate need of a shower. The Dipset capo rhymes over the beat nicely. Max B, on the other hand, doesn’t fare so well. Dude just doesn’t sound interested. Pete Rock saves the song on the third verse, though, and Max B‘s is quickly forgotten.
Pete Rock‘s first solo track on the album is the eerie “‘Till I Retire,” on which he addresses everything from his legacy to what he perceives would be just in the legal system. He provides some much needed insight on the hip hop game as well: “I hear them talk, what’s the hatin’ about?/Pete Rock, ’07, I’ll straighten it out/Ya’ll niggaz hatin’ on the south ’cause they gettin’ the shine?/ I advise ya’ll rap dudes better get on your grind.”
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D Block mainstays Styles P. and Sheek Louch join in on the soulful but gritty “914,” and the results are, as expected, very ill. The same goes for “Best Believe,” which features the almost never disappointing Redman (technically not from NY, but are you really going to complain?), and features a dope verse from LD as well. After these tracks, however, the album suffers its first misstep. “Ready Fe War,” while not really a bad track, throws the album’s vibe completely off with its Reggae bounce. Simply put, it doesn’t fit on the album. The same goes from the DJ Green Lantern-produced “Don’t Be Mad.” Why Pete Rock needs someone else to produce for him is anyone’s guess, but the results aren’t impressive, as GL‘s beat only succeeds at being irritating.
The Lords Of The Underground -assisted “The Best Secret” is executed nicely, but is followed by the forgettable “That’s What I’m Talking About,” as well as the disappointing “The PJ’s.” Wu brethren Raekwon and Masta Killa are sharp on the aforementioned track, but were simply given a lackluster beat to work with.
The album unfortunately closes out with Papoose “flowing” the only way he knows how – endless yelling. Call me a hater, but I have no idea how anyone thinks this dude is nice with such lyrical gems as “I’m the female rappers’ favorite rapper.” This song serves to highlight NY’s Finest‘s main problem – too many guests unworthy of the musical backdrops Pete Rock can provide. This isn’t to say PR doesn’t get a little lazy on a few of the beats, but for the most part it’s the guests who are the problem. It’s difficult to imagine why a legendary hip hop producer attempting to really showcase New York’s finest emcees would reach so far below the cream of the crop on some of these songs. Still, NY’s Finest is more on than it is off, so I suppose you could chalk this up as a win for PR.
