To most, the Beatnuts are Psycho Les and Juju, but for the group’s first two projects, the third of the trio was Kool Fashion. Fash went on to pursue a short-lived solo career as Al’ Tariq, citing religious regions for leaving the group, with his 1996 Correct Records LP, God Connections. Tariq also had a brief second childhood during the early millennial indie hip-hop boom, as a member of the group Missin’ Linx, along with fellow lyricists Problemz and Black Attack. Releasing only an EP (entitled Exhibit A), the group never really jumped off, but at the same time, The Nuts were enjoying success without Tariq with hit singles like “Off The Books” and “Watch Out Now”. 

     But this is not at all to say that Tariq, Problemz, or Black Attack didn’t have what it takes to make a good record. In fact, The Beatnuts were arguably at their strongest when Tariq was a member of the group. Furthermore, Problemz was killing virtually every verse he got on during the indie hip-hop heyday, he just never got the chance to shine as a solo artist. Which brings us to the here and now. In a surprise move, Al’ Tariq and Problemz have teamed-up with old Beatnuts homie Psycho Les to form the Big City crew, back for the first time with The City Never Sleeps.

     The City Never Sleeps plays like a classic Beatnuts record. Produced entirely by Psycho Les, his record trades Juju’s mush-mouthed slur for Fashion’s smoother flow and Problemz breathless delivery. The album starts off with the gimmicky “Boy”, which finds Tariq trying to convince Psycho Les to deliver a verse in more-or-less the Juvenile “Ha” style, ending each lyric with the word “boy”. While Tariq’s adlib suggests “this is how we gonna make it a hit, man”, it immediately leaves a bad taste in the mouths of longtime listeners. Thankfully, once past this trite embarrassment, things play solidly for most the rest of the LP.  

      The Greg Nice featured “Stick Up Em” is where the record really kicks in to high gear, as the former Nice and Smooth frontman delivers one of his trademark hooks as the three emcees trade verses over a cinematic track. “DJ Famalam” follows, but perhaps a better title for the song would have simply been “Problemz”, as the emcee takes center stage, proving why he’s a worthy of placement next to the Beatnut originators.  The up-tempo “Chedda” bangs like an early ‘Nuts joint, as the three emcees trade verses with guest artist Raze, keeping that classic sound in check.
     Some of the most interesting songs on the LP revolve around topical subject matter, rather than the usual freestyle rhymes. “Milf (Miss Juice Goose)” is a humorous sex song dedicated to the older ladies, and as usual, Psycho Les looks for the perfect beat to match the song’s perverted content. On a more serious note, the hypnotic sounds of “Runnin’ Around” fit well with the songs message of mixed-up, misled youth. However the song’s follow-up, “However It Go” borrows a page from Freeway’s “What We Do”, where Al’ Tariq suggests “if these beats ain’t workin’ and these birds ain’t chirpin / my heat gonna start workin’ / I’m a rob me a person!” Here, over another ridiculous Psycho Les track, Tariq delivers a memorable verse about kidnapping Beyonce and Jay-Z in hopes of becoming the next big rap star. 

     The City Never Sleeps shows consistency, but is not without it’s faults. Including the aforementioned “Boy”, a couple of other lame crossover attempts are also included. “Lick Balls” is Big City’s attempt at a dirty south joint, complete with chopped and screwed hook. This might have worked, if not for the fact that the song is overrun by a host of four unknown emcees (Redda, L.A., Super Supreme & Opti), which completely takes the listener out of the album. “Jump On It” has a dope beat behind it, but the bootleg Mariah hook by Salena Dabbs drowns out the song in syrupy R&B excess. 

      But whether you are a fan of Beatnuts from the Intoxicated Demons days, the “Off The Books” era, or even a cult-follower of Missin’ Linx, this album will not disappoint.  It might not be in the classic vien of their earlier works, but provides definite satisfaction. It’s amazing to see that after ten plus years in the game, these guys can still make solid hip-hop albums, while the industry continues to shit out it’s share of one-hit wonders. Don’t sleep on the Big City.