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by
1 January, 2000@12:00 am
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All Wyclef jokes aside, as far as Aceyalone’s eclecticism is concerned, there are indeed too sides to his book, whether it be one of simple mic-checking or a deeper volume of human language. Accepted Electic is Acey’s third release, combining the best of both worlds - the off-the-ball bouncing of his debut, as well as the dark side of his sophomore release.

Whether intentional or not, Aceyalone’s latest project is perhaps the least focused of any of his projects, as a few of the songs presented here have been released in other places. This, along with the multitude of producers and styles exhibited on the album, make for a fairly disjointed release. Nevertheless, while the ride may be a bit bumpy, it’s still enjoyable.

The jump-starter, “Rappers Rappers Rappers”, as featured on the Strength compilation, puts Acey over Evidence’s pianos, as he brilliantly pigeonholes every emcee imaginable through stream-of-consciousness rhymes. But Acey’s complaints are far more entertaining when he picks on certain types of individuals, rather than the whole rap spectrum. “Bounce” is reminiscent of early All Balls… material, as Acey wildly spits venom at his ex; equally entertaining is “Five Feet”, a paranoid, germ-fearing dedication to dick-riders everywhere; or even “Golden Mic”, with Acey reverting back to the bounce style he originated, only to dis anyone who claims credit for it’s invention.

Being that Acey-de-uno has two types of fans, those from his Freestyle Fellowship days, and those that got on during the independent boom, the album does attempt to please both, but because of this suffers on some levels. More melancholy selections such as “Hardship”, “Master Your High”, or “Microphones” seem out of place amongst sunny day tracks like “Golden Mic”, and may put some older listeners to sleep. Tracks like these, despite boasting production from cats like Evidence or Joey Chavez disrupt the album’s continuity, along with other balls that don’t bounce, such as the cheesy Ed O.G. remake, “I Got To Have It Too”.

Despite it’s disjointed structure, when Acey is on point, he really shines, as evidenced on his yin-and-yang theme songs “Accepted Eclectic” and “B-Boy Real Mc Coy”, which define the album perfectly - one a loud roller coaster ride, the other quiet and hiding in a dark corner. The trick is accepting his eclecticism.

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