Well, if you aren’t in support of the Beats, Rhymes, & Life documentary, here’s the alternative, a 1990 Dutch doc on A Tribe Called Quest and The Jungle Brothers. Dun Fact: Jungle Brothers’ “Straight Out The Jungle” single was DJ Pizzo’s third hip-hop 12″.

via: DJP

Yessir! Nice collabo track here with Black Sheep featuring Q-Tip, Dave & Mike Gee. Native Tongues have officially been reinstated?

Black Sheep – “Birds of a Feather” (MP3)

The J.B.’s impact overseas held down notoriety that faded in the States soon
after their under appreciated fourth album, (Gee Street Records), dropped and
subsequently flip flopped. For many a fan, the love was lost even as soon as their
third, the strange made it’s rounds. But as so many otherwise considered “fallen off” American artists have found, no matter what, outside of the overtly saturated domestic market, they’ll always have some more love abroad. Which might of lead to silly dance-pop records that began to define the JB’s sound of late and even much of these 11 cuts. Slices like “Candy” (“you make me say ohh, you look good enough to eat” crooned hooks) and “Let’s Get Away” play out like the soundtrack to a midlife crisis getaway that even the house-giant tagged executive producer credits of Todd Terry couldn’t save from actual Jungle Brothers’ fans hating on.

Yet with the bad comes the wonderful and there are defining moments of unadulterated J.B. flare that spark in the likes of the title track, “All That We Do” and “Do You Thing”. Both simply smashingly live contributions both vocally and behind the boards, alive with thriving instrumentation (electrified) and while not conceptually much different than the rest of the album (simple braggadocio and open ended dance-alignments) the presence of Afrika and Mike G. rebirth themselves in front of the most questioning of older fans. The ominous “Love & Hate” isn’t much of a story but its lush neo-afro JB’isms bring the needle back for a visit a few more times.

Outside of a hand full of harmonizing singers, is collabo-less, which feels like a good move here. The Jungle Brothers claim this album as testament of “the best that we can do”, and given their track record, their history and overall influence on so many of hip-hop’s pioneering next schoolers (ala De La Soul, Tribe Called Quest, The Beatnuts (whose name was given to them by the JB’s), and so many others) this effort isn’t so off the mark. They haven’t forgotten their past (“Let Me” flips an intro of the classical “I Gotta Like That”) and make a darn alright step for the present.

But before delving into the new Jungle Brothers album, it may be beneficial to first do a little homework, and Raw Deluxe isn’t the place to start. Surprisingly, nor is any other album from the JBeez. Instead, it’s recommended to first check out DecksDrumsAndRockNRoll by the Propellerheads , in order to get a better idea of what you’re about to embark on. Reason being is that ½ of the “electronica” group, Alex Gifford, has produced this entire album, and much like the JBeez’ 1989 classic, Done By The Forces Of Nature, the majority of the hip-hop audience isn’t ready for it.

This album signifies both a return to the group’s roots, as well as a step in a new direction. Tracks like “I Remember”, “Early Morning” and “Strictly Dedicated” throwback to the early days of hip-hop, as well as the classic Native Tounge style, with an added electronic twist. Here, Gifford’s production is reminiscent of the mellow hip-hop vibes of yesteryear, yet additions of hard snares and sharp guitars buried beneath it give it a new edge. In the same sense, the album’s opener “V.I.P.”, uniquely freaks an I Dream Of Jeanie sample, with high-powered drum & bass, slyly disguising itself as simply some feel good hip-hop, when a closer listen reveals that Gifford’s production makes it something more.

These old school flavored tracks will keep the core audience happy, but what will really catch the attention of critics, the dance crowd, and possibly even the mainstream audience, will be the album’s more experimental tracks. The group’s potential break-out single, “Freakin’ You”, is an addictive surf jam, that actually features Afrika and Mike G singing, on what sounds like the lovechild of Smashmouth and Fatboy Slim. Other tracks that include the J.Beez toying with new styles include the bluesy journey down a lost highway, “Playing For Keeps”, as well as the return of hip-house on “Get Down”.

Yet, when bringing in someone like Gifford, not all is roses and sunshine. Some tracks tend to drag on almost too long (“Down With The JBeez”), while others get too experimental (“JBeez Rock The Dancehall”) and some are just plain corny (“Sexy Body”). But, while it’s no secret that the Jungle Brothers have never been considered among the “super-lyrical” variety of emcees, it is Gifford’s wonderful multi-layered production that really make this project stand out. Rather than simple two-finger keyboard beats, or repetitive sampled loops, his beats have change ups and breakdowns, and they breathe new life into a classic crew, making it enjoyable to listen to simple rhymes about block parties again. Don’t let Alex’s presence fool you, this isn’t “dance music”, or “electronica”, it’s hip-hop that pushes the boundaries, allowing new styles to stem from it. If after listening to this album you’re still afraid to realize that, just recognize this as good music, period.