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by
30 March, 2005@12:00 am
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Remix project; no rating given.

      If you are J-Zone, critically acclaimed asshole of hip-hop, what do you do after you have released four solid albums and are taking a year off before the fifth? Well, if you are J-Zone you sure the hell aren’t doing anything considered normal. Many would think that Zone would be polishing his Cadillac or leaving awestruck broads with the bill after an evening of wining and dining. Not J-Zone (well, not right now). J-Zone would rather produce tracks for his favorite emcees. So since he won’t be working with Eazy-E anytime soon, he instead takes some of his favorite artists and remixes their songs. The results may astound you. Not because of how it his bizarre, yet beautiful production couples with those vocals sounds, but more so as who he has chosen to remix. With that J-Zone brings you Gimme Dat Beat Fool (the J-Zone remix project).

     Although the best person behind a J-Zone beat has always been J-Zone, it is quite interesting to see how others would fare with their vocal over the quirky production. Redman sounds awfully comfortable rhyming over the J-Zone chops and samples. “The Saga Continues” remix sounds pretty solid, while M.O.P. sounds just as good over the wild 808′s on “Famous”. What may surprise a few listeners are the guests that many wouldn’t expect. Project Pat is the one guest that may put question marks over the heads of many, but it actually works. “Bitch Witta Weave” sounds like something that could actually be on a J-Zone album. The Tash, Xzibit, Kurupt and Snoop working over of “Hustlaz iz Hustlaz” works to a tee as the bounding production supports all parties involved. But for every good track there are a few that leave something to be desired. De La Soul’s “Grind Date” doesn’t move with the same power as the original and the remix of “Greater Later” retitled “Late Greatness” seems just a bit subdued. The absolute epitome of the album is when Zone reincarnates the late Eazy E for “Rockaway and Crenshaw.” Zone’s bouncy production fits Eazy’s style perfectly and the duo rock together lovely.

    At the end of the day, the remix project isn’t bad, but it’s not all that great either. J-Zone is going to be J-Zone and basically that means that he doesn’t give a fuck if you like the album or not. He does and that’s all that matters. Gimme Dat Beat Fool is a solid album, but it does miss the trademark wit and sarcasm that J-Zone constantly provides behind the mic. Sure, it’s cool to hear Project Pat rock over a J-Zone production, but that isn’t really what fans want. But it’s a good teaser to keep Zone busy before his next album….

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