First off, we have to give credit to any MC who references HBO’s The Wire.  There’s no reason for the hip-hop world not to be obsessed with the show (except maybe for it’s porous fifth season and difficult to get through second, but that’s another matter).  Tame One is not shy when it comes to comparisons, and it doesn’t end with Avon.  In the first couple of songs he’s putting himself up there with Tupac and Christopher Wallace.  And, of course, the title is a direct reference to Ol’ Dirty Bastard.

Formerly a member of the group Artifacts, Tame attempts to follow in a New Jersey tradition of, and I say this with affection, dirtbag MC’s like ODB and Redman.  However, the humor, skill and likability of the aforementioned artists are not displayed on Da Ol’ Jersey Bastard: Live & Uncut.

Tame starts losing the listener on “Move,” an oddly lazy dance track, that ends with an extended interlude of a drunk driving arrest.  Tame’s flow, as it is, sounds somewhat like he’s drunk all the time.  Certainly the same could have been said for ODB, but in this case it doesn’t work for this critic.  It just grows tiresome.

“Milk of Magnesia,” though, is an energetic, horn-filled track, that has Tame going “spur of the moment like Tim Duncan.”  A playful, off-the-cuff flow is infectious here with Tame boasting, “I’m mentally slowa/than Rocky Balboa.”

The production work on Da Ol’ Jersey Bastard by Parallel Thought also deserves some credit.  It’s got that old Curtis Mayfield-style, 1970s, soulful type of feel.  Granted, that sound is getting very close to being overdone in hip-hop, but it’s still probably better than a generic club sound. “Catch Me” featuring Del the Funky Homosapien is a highlight in this regard.

“For You” is another very soulful track, but it’s spoiled by some just plain bad dirty talk rhymes from Tame:  “Hittin’ the tit/as much dick as she git/it’s never enough for a bitch…I bust a niggy-nut out on the cheek…”

“The Night Cap,” again, will have heads swaying side to side, wanting to wear a big-collared shirt, a hat with a feather in it and a long leather coat.  But unless you’re really into this old soulful sound, you may not want to stick around for Tame One’s rambling. - Stefan Schumacher

      Unfortunately, not to judge a book by it’s cover, but its evident from even the cover art that not much time or focus was put into Tame’s sophomore solo release. Trading his all-star line-up of producers for a group of less-than-stellar newbies, the difference in overall quality between this LP and his last is easily spotted. The dismal “Arizona Iced Tea” borrows a Bob Marley sample that goes on for five minutes too long, as Tame does his thing, only to be driven into the ground by a few lousy guest appearances (not to mention “some pilled up studio rat”).  “Get A Jar” is another lo-fi, sleep inducing track that again sounds like it was recorded in a closet; while posse cuts “Get Paid” and “Soliderz” drag on incessantly. While the eerie “Notda Okeydoke” sounds like it would have been a better addition on “Waterworld”, one wonders if that was it’s original intent,  with only one minute and thirty seconds of lyrics from Tame, then three-and-a-half minutes of instrumental. Then of course there is “Toxic”, an irrelevant, venomous, (and yes, depressing) dis at Tame’s former Artifacts co-pilot, El Da Sensai. What’s the point? 

     Granted, while this album is definitely a step down, it does have enough average moments on it to balance it out and carry it through. Despite his limited subject matter these days (read: drugs), Tame is no slouch in the lyrical department. And yes, his local producers are still able to churn out a decent track or two, even though E.C. staple producer DJ Mighty Mi holds the highest standard of production on this LP (“High Fidelity”). The heavy “Blackout Status” starts the album off nicely, while the rugged “Hydromatic” carries things along nicely. Tame plays his loose-knit ties to his Brick City brethren to the hilt on this LP, on the abrasive Redman cover, “Moccafella” and his tribute to the Pump Pistol Posse, on “P.P.P. (The Same Umbrella)”, where Tame lets loose over a phat loop picked out by DJ Porno. 

     Tame-One has enough moments on O.G. Bobby Johnson to make this an average record, but it pales in comparison to most other projects he has been involved with throughout his career. Hopefully, for the sake of the future of Tame’s career as a solo artist, a stronger sense of quality control will be used next time around.

Tame One: It’s going real well!!  Brycon, Dusted Dons and I have been tearing spots down; the crowds have really been feeling us.

HHS: After a brief hiatus in between your Artifacts split and solo-debut (When Rappers Attack), you’ve really been on the grind lately, first the collaborative project (Waterworld) with Cage and now not even six-months later you’re releasing your second solo-LP, OG Bobby Johnson, your really putting in work!

Tame One: I never really stopped recording.  I’ve been experimenting with different producers and over time compiled a strong body of work in the process.

HHS: Gauging by the title of your LP, you’re obviously a fan of the movie South Central?

Tame One: It’s a “hood” classic, right up there with the Menace 2 Society, Boyz In The Hood.  I used O.G. Bobby Johnson as a personal comparison of my status in the industry to that characters hood status.  He did all kinds of dirt early in life, but changed for the better (and he didn’t die in the end).

HHS: Your solo-debut had a bunch of high profile names attached to it from the production end (RJD2, J Zone, Mighty Mi, Reef), but with OG Bobby Johnson, sans Mighty Mi, your working with relatively obscure beat makers, what prompted the switch?

Tame One: In my never ending search for “the perfect beat” (shouts to ZuluNation) I don’t care WHOSE name is on it, for me it aint about “famous” producers it’s about whose music I feel.  Boom Skwad, Face Valyoo and The Dusted Dons literally GAVE me music for this LP!  I was trying to reflect my “DIRTY-JERSEY-ness” to the fullest.

HHS: You bring a classical element of style to the hip-hop culture (graffiti/bombing roots included) that few artists can rival, in your own opinion, do you feel that you are one of the best emcees putting it down?

Tame One: Thank you for your opinion.  And yes, I do think I’m one of the best (as every lyricist should)!

HHS: The Waterworld LP with Cage was very well-received, but even though it was a conceptual LP, did you have any apprehension of releasing a CD that contained so many drug references?  I mean there’s getting wet and there’s getting “wet”?

Tame One: Some….  But Cage and I know our listeners aren’t slow or stupid.  As The LeakBros, we lyrically painted pictures of situations, emotions and experiences.  We agreed from the beginning of the project if we were going to run with the concept we weren’t going to stray away from the original idea; basically for those that know. But make it equally entertaining enough for the perfectly sober as well.

HHS: Your last three projects have been released on Eastern Conference Records and it seems like a good fit for you, will you continue working with them?

Tame One: I’m currently weighing my options….

HHS: The Hiphop industry has changed considerably since you entered the game and there are an entirely different set of rules now.  Would you agree that the younger Hiphop fan becomes blinded by what they hear on the radio and does not recognize the attributes that makeup a dope emcee?

Tame One: 100%, unequivocally the answer to that question is—YEESSS!

HipHopSite: You’ve never bitten your tongue for anyone, with that said, would you consider someone who calls themselves a writer, or a critic, who is not necessarily as well-versed in Hiphop’s past as they should be and the contributions artists like yourself have made too be irresponsible?

Tame One: Not exactly, I’ve almost bitten my tongue clean off so many times its ridiculous (laughter).  But no, I personally can’t blame someone’s lack of knowledge on my lack of exposure; various generations in HipHop each hold their perspective era’s as sacred.  When I first made it to wax it was an ill time in HipHop; Redman, Naughty By Nature, Lords Of The Underground were all doing it for Jersey.  Black Moon was out strong, Wu dropped and Stretch & Bobbito’s radio show was feeding heads that starve for “that shit”.  It was a special time!!

HHS: OK, but do you feel that this leads to a lack of wide spread coverage and interest in projects from artists who deserve to be heard, but don’t have the machine behind them?

Tame One: As an end result, unfortunately, yes!

HHS: Here is an interesting quote lifted from the new LP “In order to be an Artifact/something has to be dead and buried/apparently no one told Tame One that.”  Can you delve further into that and break that down for us?

Tame One: It’s just a little reminder for those who only heard about Tame One “from Artifacts,” but might not have actually heard my music.  It’s merely saying I’m still at it!!

HHS: I know you’re tired of fielding Artifacts/El Da Sensei questions, but you mention El on track from the upcoming LP, how is the relationship between you both now?

Tame One: Haven’t seen him…

HHS: I know the break-up was hard, and you have moved on with your solo-career, but is it not somewhat gratifying to know that fans are still interested in what you did in the past?

Tame One: Of course, very gratifying, I’m super proud of my past recordings!  I just want to top whatever I’ve already done and show progress and add on to my song catalog.

HHS: What’s next for Tame One after OG Bobby Johnson?

Tame One:  The Spazmatic LP, which is produced by DJs Xing n Fox.  The Slow Suicide Stimulus collabo LP with The Dusted Dons, Weathermen collaborations and a long over-due Boom Skwad LP.

      Waterworld is (not surprisingly) a concept album, about a “drug related theme park”, which upon first listen immediately conjures up old feelings of Pharcyde’s own bizarre ride, or Cypress Hill’s then bold introduction of weed to the game (yes, there was a time when rappers didn’t smoke weed). However Waterworld is an entirely different record than either of those West Coast classics. While it does take a cue from Muggs with the inclusion of heavy 60′s psyche rock samples, interestingly enough, the team of nine producers behind this album have created an Illmatic-esque unified sound together, whether they realized it or not. Virtually everyone came though with some of their best production yet, whether it be J-Zone’s nutzoid “G.O.D.”, RJD2′s cinematic “Gimmiesumdeath”, Mighty Mi’s “Dead”, or hot producer on the rise, Camu Tao, who delivers three solid beats, most notably “Delirium”. For an album made up of so many different producers, every track somehow sticks to the script, animating Cage and Tame’s nice dreams. 

       But not only are we blessed with incredibly solid production here, but both Tame and Cage have stepped up their game lyrically on this record. In the most shocking revelation yet, Tame proves to be at the top of his game on this album, with vocabulary gymnastics and subtle punch rhymes that swim miles past those lyrics heard just a year ago on When Rappers Attack. “I take over like Jay Hova to hijack your mental plane just for a layover / then play the cut like baking soda / spazmatic / another hip-hop addict with habits / on National Geographic’s front cover fuckin’ a fat bitch.” That’s just one of the  Special Ed-meets-Eminem, rhythmic rhymes-within-rhymes that Tame spits on this record – and it’s filled with them. Meanwhile, Cage is bugged out as usual, however the wet cigarettes bring out a whole new delivery for Kennylz, as found on “G.O.D.”, where he spits with an incredible new cadence not heard from the emcee before. 

      But the nice thing about Waterworld is that you don’t have to wet your beak with leak to experience the type of shit these brothers are on. Each song is a different trip, and it gets more bugged out as the album progresses. “See Thru”, the album’s fourth track is about when the high kicks in, with a psychedelic, better-than-blunted Mondee produced head nodder. Things get even iller on “Dead”, the album’s eighth track, a haunting ode to late night funeral home raids for embalming fluid. And if that didn’t drive the point home, Tame’s disturbing cover of “La-Di-Da-Di” (“Druggie Fresh”) will, which surprisingly does as Tame only borrows the cadence of the song, spitting it over bells of insanity. The album closes out with each “Delerium”, “Stargate”, and “Submerged”, each of which take the trip to new heights. 

       You start to realize at this point that these guys are fucking gone – two high as hell rock stars – like rap’s own Jerry Garcia and Jimmy Hendrix. While the complaints about this record will include “the subject matter never changes”, or “it’s weird”, in essence, that’s what makes it so dope and incredibly original. While it doesn’t count as a solo record for either artist, it’s an experiment (literally), and somehow these two manage to keep it interesting, finding several new ways to rhyme about hallucinations and the drugs that cause them. What’s most impressive however is just how consistent this album is – it’s a mark of true talent when two emcees can craft fourteen tracks around the same subject matter, and still keep it interesting. Say no to drugs; buy this dope instead.

Time: 14:00

Cage and Tame One, collectively known as the Leak Bros, are hard at work within the walls of Mighty Mi’s home. I’ve been talking back and forth with Mighty Mi attempting to schedule an interview in between the two’s intense recording sessions. Finally, after finagling a Sunday interview, Cage and Tame One are ready to serve up a slice of madness to myself and the world and explain their position..Or so I thought.

(Phone rings)
Answering Machine: Hello. you’ve reached Milo, I can’t take your call, leave your name..

HHS: (damn nobodies answering..)

Milo: Hello

HHS: Yo! This is Andreas Hale from hiphopsite.com, what’s going on man?

Milo: Hey what’s up bro?

HHS: Chillen man. How you doing?

Milo: Alright.

HHS: Cage and Tame ready to do the interview?

Milo: Yeah, I’m going to put them on speakerphone okay?

HHS: No doubt.

Milo: Hold on for a second

(Minutes pass)

Milo: Alright, Cage is right in the middle of doing a vocal take. Call back in about a half an hour?

HHS: No doubt.

Damn! Those two are hard at work putting together what seems to be a ridiculous album. But now I’ve got to sit here for the next half and hour for Cage to finish his vocal take. Then I’ll have the interview I’ve been waiting for!

Stardate: May 2nd 2004
Time: 14:31

Now after I witnessed the Lakers get picked apart by the Spurs, I am ready to call Mighty Mi and deliver this highly anticipated interview.

HHS: Hey what’s up? We ready to go now?

Milo: Yeah, I’m going to put you on speakerphone hang on for a sec..

(Minutes pass)

Cage: Yo!

HHS: Whassup man?

Tame: What Up!

HHS: Alight tell me how you 2 hooked up for the Leak Bros project.

Cage: Can we just pass the phone back and forth because we’ve been recording for a while and we need cigarettes?

HHS: No doubt!

Cage: Um.we met a long time ago, back in the Pete Nice days. But we hooked up through the Eastern Conference affiliation.

HHS: How did the name Leak Bros come about?

Cage: Tame came up with it.

HHS: Tame, what does it mean?

Tame: To our friends in the industry and the streets as well, I mean, we were both kind of notorious from our past adventures. We just decided to go fuck it and let’s just team up on some Marvel team up shit and shit on people.

HHS: What’s the name of the album?

Tame: Waterworld.

HHS: How would you describe the madness on this album? Is it going to be concept driven a la Nighthawks or is it just going to be on some other shit?

Tame: It’s on some other shit. It’s like Red and Meth on dust.

HHS: Damn! Who’s producing?

Tame: Everybody!

HHS: Such as?

Tame: Everybody!

HHS: Mighty Mi? RJD2?

Tame: We got Mondee joints. We got Camu Tao joints. Shit..we still building, we ain’t chopped it down yet.

HHS: Any guest appearances?

Tame: We got Yak Ballz on the hook!

HHS: Just Yak?

Tame: Just Yak! And we got this girl from Japan on the hook..

Cage: No, It’s a guy.

Tame: (to Cage) It’s a guy? He sounds like a chick.Well we got this guy from Japan on the hook.

HHS: What’s his name?

Tame: We ain’t telling.

HHS: (laughter)

Tame: It’s a big time movie star from Japan. That’s all we’re letting loose right now. He’s a big movie star in Japan. He’s got a suicidal following.

HHS: How many tracks did you do for this album?

Tame: Seventy-five! But we’re narrowing them down right now.

HHS: Damn!  Seventy-five?

Tame: That’s how many we got done. I didn’t say how many of them we were using.

HHS: So how long has this been in the works?

Tame: Since nineteen seventy…one? It all started on a dark and stormy night. 1971! There were screams from the hospital floor. And he flips the nurse next to him and it was on from there..

HHS: How do you think the fans are going to take to the new album?

Tame: (long pause) ummmmmmmm..They’re going to get high to it! It’s a soundtrack to getting high. All of our fans collectively will get high to it and like the shit. It’s get high music. It’s not for the sober! We’re not discriminating but it’s NOT for the sober.

Cage: I think some of them will take it. But I think some of them who don’t do what we do might not take it.

HHS: Is it anything different than what you have been doing?

Cage:  It’s a little more..uh. It’s a little less different. It’s like..it’s stranger.

HHS: Stranger than the average Cage project?

Cage: Uh, yeah a little bit

HHS: Cage so it’s official you are now a def jukie. How did this move come about?

Cage: I wanted to just do some different shit. This project is going in that direction so I’m just like, doing different shit basically.

HHS:  Whassup with the Eastern Conference Fam? You still good?

Cage: Yeah! Like I’m in (Mighty) Mi’s house right now recording

HHS: What’s next for Cage after this?  Another solo joint in the works?

Cage: Hell’s Winter album on (Def) Jux coming out early 2005.

HHS: Have you begun working on that yet?

Cage: Um..yeah.

HHS: Now is that something you’re doing with just El-P or are you going to stick with Mighty Mi and the usual suspects?

Cage: I can’t say anything about it.

HHS: Alright, put Tame back on the phone real quick.

Tame: Yo!

HHS: Tame, what’s up with you after this project? Are you working on another solo album? Can you tell me about that?

Tame: Yeah! I just got pro tools in the crib. Got a CD burner and all that! I’m selling them straight out of the crib.. straight out of the trunk. I’m just going to have people come by my crib and buy my music. Fuck it!

HHS: Is your album done or are you just working on it now?

Tame: I’ve got two albums done already. I’ve got a Spazmatic album that’s done. I had no distribution for it. I got projects that are just sitting. They are sitting on they ass getting old.

HHS: Are you planning on releasing them after this?

Tame: For the right price yeah!

HHS: Is there a possibility for an Artifacts reunion…

Tame: NO!!!

HHS: No? Negative?

Tame: No.Completely negative! Unless somebody offers me 70 million dollars and..nah I don’t even want to put that out there. NO!

HHS: Any last words

Cage: We’re going on tour in June on the East Coast and Midwest. In August we’re going to the West Coast and Europe.

HHS: When does the album drop?

Cage: Embalming fluid does not have PCP in it. July 13th this shit comes out. Embalming fluid does not have PCP in it….

HHS: Say what?

Cage: Just put that.

Tame: Buy five copies of the album each. It comes with a disclaimer on it so you won’t mix your chemicals. So nothing will explode on your table.

HHS: Alright, so you two are going back to the lab?

Tame: Yessiree Bob!

HHS: Thanks a lot for taking the time out with me. I’m looking forward to the album..

Tame: Do you get high?

HHS: ?

Tame: Nah wait…. Do YOU get high?

HHS: Nah.

Tame: You don’t get drunk?

HHS: Yeah, I get drunk.

Cage: Get drunk then listen to the album!

Stardate: May 2nd 2004
Time: 15:04

Whoa..after spending precious moments with Tame and Cage, I have finally nailed the interview with the Leak Bros. Big ups to Tame, Cage, and Mighty Mi for taking the time out of their world and entering mine. Every moment is precious and they have allowed a glimpse into Waterworld for all to enjoy. Pick up that album! Available July 13th.

While the upwardly mobile half of the two, El Da Sensei penetrated a burgeoning independent industry soon after the split with a stout selection of records (on more different labels than you can find at Lower East Side fruit stand), his nottyheaded equivalent didn’t surge out so well. Granted, occasional appearances (Ambush, Redman, Miilkbone) shed a little light on the growingly elusive emcee, not to mention a couple 12′s over the past few years. Yet still the guttural delivery, the harsh spit-back, the elements that a yet-to-be-labeled backpack generation adored so much in this emcee, we close to lost forever.

In a whimsical effort, Tame One finds a home. Interestingly enough and thankfully on the well kept Eastern Conference  imprint, supplied with a competent production roster to boot (DJ Mighty Mi, RJD2, J-Zone, Reef, Camu Tao) and delivered is the redemption of Mr. Tame One. Still guttural like a muthafucka!!!

Tame takes, When Rappers Attack, as his state of the union, and while topically rapping about how wack the industry is and how wack everyone is, has definitely been covered before, its a concept  we hip-hoppers can truly relate to and even gravitate towards. Closing his album the way he commences it, “Homage To The Bomberz” and “When Rappers Attack” present a focused drive within the dusted parameters of Tame One’s brain.  Where El Da Sensai’s previous full length at times carried the weight of too many musical directions (and perhaps tracks), When Rappers Attack, feels slightly more focalized. Slightly.

“Moment I Feared” marking an honestly appropriate ode to one of Slick Rick?s many masterpieces, is simply irresistible while “Up To No Good Again” bounces back and forth a la the Showbiz remix to “The Ultimate” (remember how they bounced?). Yet Artifact comparisons aside, Tame is no doubt the same as he ever once was. Dusted, disgusted with hands littered with paint stains. While Tame has gone on record and stated that When Rappers Attack is in some way his very own litmus test, to see whether or not the heads of today are still checking for him, he’s a veteran to most of the critically acclaimed of today, and with an above average full length to boot, all should pay Tame his respects.  This should definitely Tame’s name out there, even if they’ve already buffed it off the walls.

Tame: Only to the media.  Everyone else accepts it and don’t/won’t even bring his name up in my presence.  Individually we started as soloists, so things just came full circle.

HHS: Mighty Mi has always had an ear to the street, how did your deal with Eastern Conference come about?

Tame: At the time I was trying to get a deal on Game recordings or Stretch Armstrong’s Spit imprint.  Eastern Conference has an office within those offices, saw my struggle, made the offer and I accepted.

HHS: Can you explain the title of your solo-debut When Rappers Attack?

Tame: The title is just a summarization of the darts (battle rhymes) I use both offensively and defensively throughout the album.

HHS: Considering that you have been gone for so long, would you consider this a comeback LP?

Tame: I consider this LP a test to see if I am still accepted in the game, not so much as a comeback LP because it’s my first solo LP.

HHS: The production line-up for When Rappers Attack is very solid, Rjd2, Mi, J-Zone, Reef and Camu Tao how did the creative process unfold?

Tame: Allot of people were submitting beats to Mighty Mi for the project, so I just picked the best from what was available, went back to the lab and wrote to them.

HHS: One thing that immediately jumps out about this LP is the lack of guest appearances, as only Cage appears on “Leak Smoke.” You really go against the grain in that regard as most LP’s now are littered with guest spots, was it important for you to keep the guest spots to a bare minimum in order to reconnect with your fans?

Tame: In a way, but for the most part I just wanted to keep my album “my album” and not a compilation LP. I’m sick of buying albums and hearing everyone else but who I purchased the LP to hear.

HHS: Clocking in at just over 40 minutes, When Rappers Attack wastes no time in getting to the point and you disregard the current trend of 70-minute plus LP’s (marathon listening sessions). Was this a conscious decision on your part?

Tame: Tue indeed, I’m not trying to beat anyone over the head with my music, or act as if this is the last hurrah.  I was just feeling out the new relationship with my new label.

HHS: One track in particular, “Homage To Tha Bomberz”, pays homage to graffiti artists, are u still tagging?

Tame: Let’s just say I’m still active, but to a lesser degree, I’m older now and prior charges add up (laughter).

HHS: You also pay tribute to Slick Rick by interpolating “Moment I Feared” is Ricky D. one of your favorite emcees?

Tame: Of course!!  Slick Rick is a lyrical don.  “The Moment I Feared” is one of my all-time favorite joints of his! FREE SLICK RICK-BY ANY MEANS NECCESARY!!

HHS: “Concerto”, “Up To No Good Again” and “Heat” really stand out, what’s your favorite track on When Rappers Attack?

Tame: My favorite song off my LP is “Concerto” because it’s lyrically different. I used what I like to call my “acid tab vocab” (Boom Skwad Dim Mak Technique first heard on the Trife Type Tymes release on the song “Raw Dick Shit.”)

HHS: With some of our favorite hip-hop groups of the past now getting back together, can you ever foresee reuniting with El or is that a mute issue?

Tame: I can’t see that far into the future. Next question.

HHS: What goals do you have for this LP?

Tame: To set the stage for future projects and establish myself as a solo-artist.