Think Green gets off to such an awful start that it’s practically dead on arrival.  First comes a skit, then there’s an intro–your obligatory shout outs to just about everyone this guy knows. This is sort of like when you open a book and there’s an introduction, then a prologue, plus an acknowledgements page. You’re ready to put it down before you even start the first chapter.

Finally, a song, “What it is” featuring Blaq Toven.  What it is, is a song featuring one of the most pathetic hooks heard in some time.  You’ll be very familiar with it, because you’ve heard it about a thousand times before.  It goes, “You know what it is, now that’s gangsta/now that’s gangsta/diamond in the back, sunroof top/chillin’ back smokin’ on that green/now that’s gangsta.” That’s not gangsta, that’s played out. “Diamond in the back, sunroof top?” Seriously?  How many times can this line be regurgitated? It goes all the way back to 1972 with William DeVaughn’s “Be Thankful for What You Got,” the basis for countless songs from each N.W.A., Ludacris, De La Soul, Pace Won and more. Enough is enough.  If this is the best we can do, it means there is absolutely no effort being put towards creativity and the entire genre is doomed.

Phil Da Agony also says on “What it is” that he’s been in this “10 plus 10, that’s 20 years of Phil Da Agony in your ears.”  He’s been in the game 20 years?  This is probably not something he should admit to, because if these are the skills he’s developed over a 20-year span, he should’ve hung it up a long time ago.  And if he’d been in your ears for that long, they’d be bleeding. Next Chapter compilation and all.

Think Green, of course, is not really about the environment, except for one song.  It’s mostly weed worship and ridiculous bragging about being gangsta.  Phil Da Agony is not capable of carrying an album on his own, and the guest appearances do him no favors.  Talib Kweli shows up predictably a couple of times due to his loose knit Strong Arm Steady affiliation, but begs the question as to why he rolls with these guys to begin with.

“Black History” featuring Planet Asia is one of Phil’s rare attempts at substance and it’s almost insulting to hear him tell stories of his ancestors in the middle of an album so full of banality. The one moment of mild interest is “Think Green” featuring Kweli, in which Phil samples Al Gore and encourages us to take care of the earth, even giving us a handy reminder that “Earth Day is April 22nd/just thought I’d put it on record.”

We give Phil credit for being a conservationist, but unfortunately this garbage is only polluting. - Stefan Schumacher

    With a production team that includes the likes of Hi-Tek and DJ Khalil, you know that Phil means business.  Opening with his abrasive flow on “The
Opera”, Phil the Agony reintroduces all to the style that helped him make a name for himself. From there, Hi-Tek helps Phil out with the windows down, full volume vibes of “Summertime”, which sounds a little reminiscent of De La Soul’s “Baby Phat”, but still works. DJ Khalil pumps the energy up to 10 with his contribution, “Promises”, where a sped up vocal sample rocks in between a thumping bassline, as Phil swerves in and out of the headrocking track. Khalil showcases his production throughout on joints like “I Can’t Believe” featuring Xzibit and Krondon, and “For The City” featuring Talib Kweli. Phil shines when his rock solid flow is put on full display, like when rocking alongside Xzibit and Krondon on “I Can’t Believe”, which shows that he has a lot of potential. “Everything” allows Phil to illustrate his ability to ride a beat, and while “Promises” may easily be Phil’s most solid joint, he leaves much to be desired as far content. 

    Where the problems lie is when Phil employs a little too much time to his guests. Talib Kweli completely snatches the spotlight from Phil on “For The City”, Raekwon rocks the hell out of “Thousand Words”, and Planet Asia glows on “Pat Jenkins”. While The Aeromatic Album may sound good, the listener never really gets to know Phil the Agony as a person. When Phil does take the mic on a solo mission he falls a little short as opposed to the spots with guests. “Long Time Ago” serves as another solid Phil joint, but nothing insightful to make the listener think there is more to Phil than what you may have heard in the past. 

    The Aromatic Album is an introduction to Phil that may have many listeners clamoring for more. Not because they feel like Phil gave his all, but more like he didn’t give them enough. For future releases, more songs like “Everything”and “The Opera” are necessary in order for Phil to take his place amongst the west coast’s elite. Unfortunately, The Aromatic Album is too much bread not enough meat, but Phil will still proves to be a force to be reckoned with as time goes on.  

Although Smokefest can be considered Phil’s freshmen solo endeavor, this self-released endeavor sure doesn’t show it.  He let’s vets know how to open up an LP with “Blunted”, a lyrically thick track that weds raw verbalistics with a swaggering flute in the backdrop.  Fortunately, the pace rarely slows from there, as Phil picks up right where he left off, with Likwit co-member, Defari, on “Clear The Lane”.  The cut features hauntingly wonderful key drops over rumbling drum kicks, giving both Likwit brethren the opportunity to let lose on wack emcees.  Defari takes charge of the song with his verbal assault, “Fuck lunch/I’ve been hungry/starving like a vulture/I dedicate myself/to elevate the culture…”

Not forsaking any opportunities to show crew love, Phil Da Agony continues to integrate his brethren on the hot potato mic session, “Likwit Crew Connection” and “Live At Master Control” which features Krondon, Chace Infinite, Dilated Peoples, and Jurassic 5 going line for line over an ever so soulful sample over a crisp boom bap. 

While there are a plethora of guest spots, Phil does go for dolo on four different freestyle sessions, including “Phil The Agony Freestyle 2″, where he spits, “We roll tight/with the right recognition/on a mission/you get knocked out of position/at nights/late night/breathing on the mic/with the jaws of life/on the cordless mic/called it the heights/that’s right/South Crescent Heights intoxicated/Dilated/reinstated/on paper/over qualified/making y’all catch up to us/popular/watchin’ ya/right on top of ya…”

Yet, underneath the pillows of smoke and gutted dutches that Smokefest leaves in its wake are a few plodding efforts that fail to resound; including the contrived “Train Hard” “Nucleus”, “Give It Up” and the gimmicky “Watch Out”.  The latter, is the album’s lone lyrically deficient cut, as Phil spouts out repeated warnings to listeners.  However, Phil compensates for these missteps with the 808 kick of “Classical Hits” w/ Planet Asia and King Tee (I smell a comeback) assisted “Back Up” where a prodding chime is combined with an eerie bass line. While Smokefest isn’t thought provoking, Phil comes off as the Left Coast’s answer to Redman —-dope lyrics, hard production, and pure entertainment.  Sometimes, that’s enough!!