With thirteen full-length projects under their belt, Eastern Conference has established itself as one of the premier New York based independent hip-hop labels, a foundation that was built of the High & Mighty’s 1999 debut Home Field Advantage, which was ironically distributed by Rawkus records (who also helped offshoot Def Jux, for better or for worse). But while the High & Mighty has stamped their name on a few compilation albums and one other EP, their latest effort, The Highlite Zone, is their official sophomore full-length release, and apparent swan song before DJ Mighty Mi retires opens his own athletic shoe store.

     What has always attracted fans to the High & Mighty, is their old school sensibilities melded with today’s off-color, shock value emceeing, and The Highlite Zone is no different. It kicks off with the ridiculous “Right Here”, as Mr. Eon tears through a wonderfully grimey Sebb beat, and flows right into “Cheese Factory”, with Copywrite, also propelled by a top notch sample collage by Sebb. MHz (MegaHertz) beatsmiths also lend to this first half of the album, as RJD2  brings late-night hype with “Incorporate Anthem”, not to mention Camu Tao’s stellar “Standing Room Only”, shared with Cage. As usual, the album contains its share of “throwback” joints, most notably “Take It Off”, where Mr. Eon disses all style-bitin’, throwback jersey wearin’ emcees (Nelly included) with the classic Philly track behind him, and Vast Aire providing the hook. 

    The old school tactics however aren’t as interesting on the DJ Jazzy Jeff & Fresh Prince  remake “Rock The House” (feat. Rahzel), not to mention the Eric B. & Rakim “Eagar To Listen” cover, “Mighty Mi Is Clickums”, but still get props for at least reminding us of those lost classics. However while the first half of the album is strong, these two covers aren’t the only snoozers – Mr. Eon as the conscious rapper on “Fast Food Nation” is about as hard-to-swallow as a McNugget with a beak, and “How To Rob An Actor” (feat. Michael Rappaport) is funny the first time, but annoying thereafter. And the new latest episode of the “Dick Starbuck” series just doesn’t compare to the original, with its syrupy hook.  

   Despite these few foul balls, definite props are garnered for much of the rest of the album, not forgetting the last few dope posse cuts on the way out (“Meldrick Taylor”, “Live From The Bullpen”). The High & Mighty have delivered another solid album, and while this may be their last, we hope that they’ll continue the great traditions they’ve laid down with Eastern Conference for many years to come.