4 October, 2003@12:00 am
Mathematics aka Norman Porter has entered his name on the ballot of producers trying to make a name for themselves. With the Neptunes, Kanye West, Just Blaze, and a host of others not only making dope records but also outshining the artists, the producer has become the focal point of music again. With so much emphasis on production, Wu-affiliate Mathmatics steps out of the 36 chambers to let his production speak for itself. As Mathematics gathers his brethren to put out his release Love Hell or Right, he attempts to make the hip-hop world take a deep breath and recognize he
is here to stay.
The production instilled within Love, Hell, or Right is obviously the main focus. Mathematics wastes no time letting marvelous production explode onto the listener’s ears with the simply tremendous “Pimpology 101″ feat. Buddah Bless. Nevermind that the stylings of Buddah Bless are average at best, but it’s the way Mathematics turns a soulful sample into a sick head nodder that makes this a significant moment. At times
Mathematics resembles a gutter extraction of Kanye West. While Math not only grabs ill samples, he also rubs its nose into the granite creating a raw harder edge. Also leaking of dopeness is the Eyeslow assisted “Juscantluv”. Eyes Low’s vocals become
elevator music compared to the rumbling production mixed with a sped up sample that elevates the atmosphere of the entire song. Underrated Wu-affiliates Killah Sin and La The Darkman work it out all over the graceful “Hav Mercy” which becomes one of the few moments where the production and the emcees blend so appropriately.
However, lets not also forget the emcees that first brought Mathematics into the spotlight, the illustrious Wu-Tang Clan. “Respect Mine” oozes of pre-Iron Flag Wu Tang as Method Man rips the track to shreds and Raekwon flexes his vernacular in a moment where Wu heads would undoubtably grin from ear to ear. The RZA shows up to bless “Da Great Siege”, as Bobby Digital’s distinctive voice mixes properly over Mathematics hard as nails production.
There are some mishaps however as tracks like “Gangsta” and “Real Talk” cannot withstand the lackluster ammuniton that the other emcees provide. On the latter Poppa Don sing songy style sounds painful over a pretty average track. “Hip Hop 101″ just sounds out of place with the rest of the album as the production just sounds out of character for Mathematics.
As Mathmatics throws his hat into the already filled to capacity arena of producers he is able to still make a name for himself. With solid production throughout “Love Hate or Right” turns out to be a welcomed CD to any fan of hip-hop’s premier beatsmiths
collection. Even though at times the emcees can’t keep up with the potent production, Mathematics still is able to make tracks that make you forgive the vocals. Therefore, with that hopefully some of the established artists will get an earful and add Mathmatics to their production credits.
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