Monday, April 30, 2007

...Pick Up The Paid In Full Album Cover Look In The Back, Homey What's More Realer Than That...




Few artists are so universally respected and criminally slept on as Kool G. Rap. If G. Rap had been in his prime in the late nineties and early aughts I think he would have had no problem creating at least a gold album. His status as a top five all-time emcee is solidified amongst a majority of rap critics and blogerati alike. As it stands, Giancana will go down as probably the best rapper ever not to sell at least 500,000 copies of any of his releases. One of the most amazing G. Rap traits to me is that he is completely immune to falling off. When I bring this up people always have their counterarguments, which generally follow one of the two possible theses below:

1. Oh, come on Kool G. Rap hasn't been the same since he left DJ Polo.

or

2. Kool G. Rap hasn't released a good album since Roots of Evil.

In response to the first statement, I disagree completely. If anything I think Kool G. Rap has gotten better as an emcee since the days of Live and Let Die (his last album with Polo), it's just that his (choice of) production has become less consistent. I think it's very difficult for emcees from the golden era to adapt to more modern, and in my opinion less organic, forms of production, but G. Rap has done a pretty good job considering he first dropped about twenty years ago. 4,5,6 and Roots of Evil are both very good albums, and although die-hard G. Rap fans were disapointed with The Giancana Story (G. Rap's most recent official LP), it's actually a really solid album with the exception of a couple production missteps and unnecessary collabos. Even on the horrid Click of Respect crew album, the only thing I can really blame Kool G. Rap for is his choice of collaborators and producers.

Sifting through the last several years of collaborations and overlooked releases, I've come up with a mix. Call it my Laptop A&R's follow up to Roots of Evil. When I started working on this mix (which was about the time I started this blog) I was working on several other things first, so I just started compiling some tracks, meanwhile grinding out my Method Man mix and Kane mix. What did I find? Kool G. Rap has a lot of material out there that's not on his solo albums. That said, I really didn't want to go the route of another all guest shot and producer's album cuts mix, so I did include a couple cuts off Giancana and Click of Respect. I also wanted the mix to have the feel of classic G. Rap music, so I included a couple older joints heads might have slept on along the way. I also tried to keep his collaborations down to artists that he either sounds good with, or who make a similar style of music. The result? Godfather Music.

http://www.sendspace.com/file/vmvrok


1. The Legendary Street Team featuring M.O.P.
2. 100 Roundz
3. Thug Chronicles featuring Havoc
4. What's More Realer Than That?
5. Know The Game featuring Mobb Deep & M.O.P.
6. Air U Out
7. Animal Rap featuring Vinnie Paz
8. Blackin' Out
9. Death Threat featuring the Brand New Heavies
10. Fight Club (Hook by Shaqueen)
11. Framed featuring Inspectah Deck
12. Where You At? featuring Prodigy
13. The Streets
14. It's Nothin' (Hook by Joell Ortiz)
15. Full Metal Jacket featuring Mass Hysteria
16. The Realest featuring Mobb Deep
17. Allied Meta-Forces featuring Canibus
18. Fall Back featuring Big L
19. Break A Bitch Neck featuring Akinyele

Wednesday, April 18, 2007

Speaking of Grimy

Prodigy had a claim to the throne at one point. After Pac and Big died, there was no clear successor as the King of New York. Granted Nas had a solid claim to the title and Jay-Z was quickly building a case, and while 50 Cent was still a random Onyx affiliate tryin' to make a name for himself, there were a couple duos who also had designs on the crown. Raekwon and Ghostface who had dissed Biggie back on the Purple Tape, both had the opportunity to vie for the Kingship, but out in Queens there were two young grime rap kingpins, one with a serious penchant for poppin' off at the mouth, who would also have something to say about their spot at the top. Prodigy's subtle lyrical brilliance shines like a Jacob watch in Hades all over The Infamous, Hell On Earth, Murda Muzik, and H.N.I.C. And it wasn't until Shawn Carter aired P out on the Summer Jam stage back in '01, that Prodigy, and consequently the Mobb's, career took a decidedly negative turn.

The Mobb's response, 2001's Infamy, was too little too late, receiving mixed reviews and failing to capture the imagination of the usual Mobb Deep fanbase, especially amongst stellar releases from both Jay-Z and Nas. Soon after, Loud Records (one of the last bastions of creative freedom on the mainstream level) disolved, and Mobb was left looking for a deal. They quickly threw together their slightly promising Free Agents mixtape, got a deal with Jive, dropped another uninspired release with Amerikkka's Nightmare. If Jay-Z crushed Hav and P, maybe Mobb thought 50, being a fellow Queens representer and a long time aquaintance of their's, would help revive them. Maybe 50 Cent even thought he could really help Mobb Deep, but the truth of the matter is that G-Unit, or maybe it's Jimmy Iovine, doesn't seem interested in putting out any record that doesn't have a "pop" vibe. This of course sits in opposition to the fact that nobody wants to hear a Mobb Deep record unless it sounds grimy.

For the first quarter of 2007, this is exactly the album that New York needed. My boy from Brooklyn told me to turn The Return of the Mac off when he heard the line "If Pac was still alive, we'd be on the same team." To some, especially die hard Biggie, Pac, or even Mobb fans, statements like this may come across as blasphemous and disengenuous. I think P, forever a realist, is just assessing the modern scene of rappers and acknowleding that there's too few real cats left for beef. Those that remain need to work toward the same goal, bringing that real official grimy New York sound. Alchemist takes care of that on this album and, with H.N.I.C. 2 also coming out on Koch this year, hopefully Al and P are just getting started. Here's a few bonus cuts that didn't make the album (well some of them did if you copped it from Best Buy) and a couple featuring from Big T.W.I.N.'s upcoming project:

Stop Fronting
Raining Guns and Shanks
Last Words ft. Kokane
That's That ft. Alchemist & Havoc
Straight Murder ft. 50 Cent
In The Smash ft. Big T.W.I.N.
Sold My Soul ft. Big T.W.I.N.

Will The Grime Ever Come Back?

My recent conversation with O.C., and an interview I read with Steve Rifkind over at www.xxlmag.com the other day got me thinking. Will the griminess ever return to hip hop? For the past ten years I've watched the hip hop production become smoother, digitized, normalized, more polished, etc, etc. When I sat down with O.C. he had a lot of praise for the new Prodigy record, for bringing back that grimy classic New York style, but are we just waxing nostaligic when we listen to this record? Is it really that deep? I mean I like the new Prodigy record. I went on a road trip last week and it is definitely one of the best "driving albums" I've heard in a minute (although the Drought 3 was in my whip almost the whole way back). But truthfully Prodigy still sounds burnt the fuck out. He's still rapping like he has over the last six or seven, uninspiring years of his career. I like the so lazy I don't give a fuck mood from P, but that's cuz it's P, I believe he IS burnt out and drugged up.

Alchemist absolutely bodies the production on this album, it's only April and I don't think somebody would be going out on a limb too far calling this the best produced album of 2007. There are very few albums that will even have a chance for competing for this honor, and many of those may not even drop this year (if they ever do at all). But truthfully, I can't see a major record label really ever getting behind a record like this with the promotion it would take to really blow it up.

Furthermore, I don't know if today's hip hop climate can really appreciate a record like this. We're too far removed from the nineties, let alone the seventies, for people to really remember what funky and soulful music sounds like. In the land of the Runners, Scott Storch, Timbaland, Akon, DJ Khaled, Neptunes, & DJ Toomp is there really a place for producers making music like Alchemist, Primo, Pete Rock, RZA, Madlib, and MF DOOM? Well, yes and no. There is certainly a niche market with independents for us boom-bap dinosaurs that still buy cds But ultimately, I can't ever see any of these producers being involved in another platinum project. And I don't think there's really anything they can do about it, unless they've got a mean keyboard game, and some nice snaps (and I don't mean paper or jokes, I mean boom boom snap, ba-boom-boom snap). Shit even the new El-P record sounds glossed the fuck out to me (no PhilaFlava).

There's just no place for purists in the mainstream anymore. In a way I blame Kanye, 9th Wonder, Just Blaze, & Jay-Z for this phenonemon. When hip hop was ready for the first return of the grime, back in the early 00's, they gave us a glossy new alternative. Instead of going to Primo on The Black Album, Jay went with 9th. Sure it was sample-based and soulful, but it was also clean and crisp - no more vinyl hiss, no more wild RZA layering, no crazy kung-fu or blaxploitation samples. And I'm not criticizing their work, each member of this new guard of sample based production is talented in their own right and did something to remind us of why we loved NY hip hop so much. However, the glossiness they added to this style made it sonically very similar to what was going on in other regions.

Fastforward a few years and where are these cats now? Kanye is mainly using other people's production, and my guess is even when he takes credit for a track, most of the time, he's not really making the beat anymore, he's just playing Dre (which is cool, but it's a far cry from "The Takeover"). Just Blaze produced an entire album for Saigon, and you best believe if this was 2002 or 2003 that record would be flying off the shelves, but in this era they can't even get a release date out of Atlantic (how many years ago was this supposed to drop?). Sure Just still shows up for a T.I. album or a Jay-Z album, but only for one or two tracks (which sound glossier and glossier and less and less grimy), and face it, most of the time they don't bang like they used to. 9th Wonder? He's still rocking with Boot Camp Clik, but the internet has certainly turned up their hateration of this cat since the days of God's Stepson, The Listening & "Threat." Hell even Little Brother, which none of us would have EVER heard about if it wasn't for ?uestlove's famous co-sign of 9th, is sick and tired of his beats.

It's almost easier to find production from Primo, Pete Rock, Alchemist, Madlib, et al, than it is to find their descendents these days, which I guess proves that some people will always crave the real thing. But again, you generally have to look at the independent market to see these cats. Blaze and Kanye will always be around because they adapt and change with the scene, they may be dedicated to some kind of "rawness," but they certainly aren't dedicated like their forefathers were. What does grimy sound like in 2007? The last Clipse album? Are the Neptunes grimy now (No Nore)? Is Lil' Wayne grimy? Ughhk. It is my every hope that Raekwon, Wu, Pharoahe, and Prodigy's H.N.I.C. all go platinum this year, prove me wrong, and bring back that real rawness, but lets be realistic. Grimy is Dead. Bapesters, it's your world, we're just visiting.

I'll upload some tracks later.

Wednesday, April 11, 2007

...I Got Myself A Fourty, I Got Myself A Shorty, And I'm About To Go And Stick It, Yes I'm About To Go And Stick It...

Like many of the best emcees from the nineties Method Man's career is not what it used to be. Unlike many other touted lyrical messiahs, Method Man never dropped his "classic." His first album Tical, is the closest he came to a classic release, and in hindsight one might mistake it for a classic release. The truth, however, is that after Meth's performance on 36 Chambers, Tical was a let down. Subsequently ever Method Man album has been more dissapointing than the one before it, with the exception of his good, but overly blog and message board jocked, album from last year 4:21 The Day After.

In light of the fact that I don't really have a specific Method Man album to point, to tell cats "Yo, if you wanna hear a classic Method Man record check this..." I decided to put together another mix. Laced Wif Mef is a collection of Mr. Mef's guest spots, b-sides, remixes, and rare singles. I went with a couple obvious choices, but you can't have a Method mix without "Shadowboxing" or "The What?" in my opinion (and neither were Method Man album cuts, which was the one criteria I really had). Anyway in this process I came across a few cuts I'd never heard before, and hopefully, so will you.

Hobby In The Lobby Presents... Method Man - Laced Wif Mef (Re-upped 5/20/07)


1. The Riddler (Remix)
2. Hard to Kill feat. Spice 1
3. Rumble feat. U-God, Lethaface, and Inspectah Deck
4. Se Acabo (Remix) feat. Beatnuts
5. Shadowboxing feat. GZA
6. Fast Shadow (Version 1) feat. ODB
7. Three Amigo's feat. Papa Wu, King Just, and Sic
8. Thank U feat. Ghostface Killah & Mathematics
9. The What? feat. Biggie Smalls
10. And Justice For All feat. Bobby Digital & Killarmy
11. Flowers (Original) feat. Raekwon, Ghostface Killah, & Supreme
12. Gunz N Onez feat. Heltah Skeltah
13. Dart Throwing feat. Cappadonna & Raekwon
14. Release Yo Delf (Prodigy Remix)
15. 7th Chamber (Original) feat. Wu-Tang
16. How High (12" Version) feat. Redman
17. Evil Streets (Remix) feat. Onyx
18. Intoxicated feat. Ol Dirty Bastard, Raekwon, & Macy Gray
19. Saian feat. RZA & Saian Supa Crew
20. Take The Heat

Tuesday, April 10, 2007

...Your Persona's Drama That You Acquired In High School In Acting Class. Your Whole Aura Is Plexiglass...


New O.C. Interview I did up at PhilaFlava.com - http://philaflava.com/q&a.htm.


We covered topics ranging from his relationship with D.I.T.C. members and Organized Konfusion ex-members to Reef The Lost Cauze, Ill Bill, Serch, The (white) Rapper Show, what happened on Bon Appetit, Hieroglyphics, etc, etc.


There's also a pretty good interview with Mathematics (Wu's DJ & Producer) that I did a few weeks ago, some other good ones up there as well.

Sunday, April 8, 2007

Wu Rock


Die hard Wu fans never give up hope that the 8 member core roster and many of their affiliates have the capacity to release classic music. As time goes on however, The RZA who created and defined what Wu meant throughout the nineties has really limited his involvement with Wu projects. His more limited leadership has been somewhat hit and miss, leaving the Wu members without what was once their signature sound.

Without their maestro, Clan members have continued to work with RZA's disciples (Mathematics, True Master, and 4th Disciple) to moderate success, or gone outside the camp entirely to often horrific, but occasionally brilliant results. The best results have come from work between the Clan members and some of the underground's dustiest elite producers like Dilla, MF DOOM, and Pete Rock. Utilizing mainly old "Herbs and Spices" and working only with only Ghostface Killah to this point MF's Wu work is not yet worthy of a blog in my opinion. Ghostface and Raekwon's use of posthumously released Dilla beats has made for some great collaborations, but ultimately there's a very limited amount of Wu Dilla material at this point as well. Pete Rock on the other hand has been crafting his own version of the Wu sound for years.

One of Pete Rock's greatest talents is his ability to incorporate his collaborator's sound into their beat, while still leaving his trademark stamp on the product. The Pete Rock and Wu connection has been strong since their first collaborations on Pete Rock's first solo forray. In the last few years though, his work has been frequently one of the last pillars proping up the Wu's soulful roots.
From his early work with Wu members on Soul Survivor and Inspectah Deck's Uncontrolled Substance, Rock showed a promising ability to combine RZA's eerie layers with his own classic thumping bassline plus boom-bap approach. In recent years, his work with Ghostface has helped redefine what a classic Wu record sounds like in the mid-00's.
1) Trouble Man - Inspectach Deck & Vinia Mojica
2) Half Man Half Amazin' - Method Man
3) Dogs of War - Ghostface Killah, Raekwon, Trife, Cappadonna, & Sun God
4) Sneakers - Raekwon
5) Tru Master - Inspectah Deck & Kurupt
6) Head Rush - RZA & GZA
7) Strange Fruit - Tragedy & Cappadonna
8) Kids Thats Rich - Raekwon
9) Older Gods Pt. 2 - Masta Killa
10) R.A.G.U - Ghostface & Raekwon
11) The PJs - Raekwon & Masta Killa
12) The Game - Raekwon, Ghostface, & Prodigy
13) Be Easy - Ghostface

Wednesday, April 4, 2007

...I Got Caught Dealin' At The Age of 1-5, Had All My Bitches Stealin' Just Tryin' ta Survive...

Before Terrance Thornton was Pusha Ton, Malice's little brother was simply known as Terrar. In fact, had Exclusive Audio Footage actually dropped on Elektra, T might still go by that menacing shortening of his name. Unfortunately, in one of the great label bungles of all time (and we all know there have been plenty), the Clipse first entirely Neptunes produced album was shelved in 1999. Now I'll be the first to admit that in terms of subject matter not much changes from Clipse LP to Clipse LP. The Thornton brothers always rap about drugs, and they always rap about guns, and they always do it really well. What usually changes from Clipse album to Clipse album, aside from crack punchlines, is the production; although, the Neptunes have a distinct sound, they tend to draft a new iteration for each Clipse record at least.

There are two things about Exclusive Audio Footage that I specifically appreciate: one being version 1.0 of that brand new Neptunes sound, from the same era that "Superthug" and "Oh No" were created, and the other is the energy the Clipse bring to their rapping on this record. That's not to say that the production and rapping haven't improved, cuz in many ways they have. There is a rawness on this Clipse record however, that is unlike the calloused down south reinvention of Mobb Deep that Malice and Pusha T have perfected over their last two albums. Part of this rawness may just be that this was the first LP all parties involved worked on together. The Neptunes had been producing on the scene since '96 at least, but they were still perfecting their sound and Malice had been rapping and working with Chad and Pharrell for a minute, but he was still trying to make a break. Terrance on the other hand, had only started rapping a few years prior, and perhaps his indecision on where he wanted to take his flow is what leads to the frantic and deranged higher-pitched machine gun funk he delivers on this album. Whatever the reason, if you didn't see the video to "The Funeral," you might not know that Terrar was the same emcee as this Pusha T cat who showed up 3 years later when the Clipse finally released Lord Willin' under Star Trak/Arista.

Below are six solid cuts off Exclusive Audio Footage. If you hear these joints and decide you must listen to the whole album, just visit the wonderful world of albumbase.com. They'll hook you up. If you're already a Clipse fan and you don't have this album, definitely check it out. Hearing it after Lord Willin' and Hell Hath No Fury doesn't diminish this album, it serves as a brilliant prequel, featuring the development of both one of the most skilled lyrical duos and one of the greatest production teams of the 21st Century. And if you could never tell the two emcees apart, I promise you that you'll be able to after listening to this album.

Clipse - Hear Me Out
Clipse - The Fugative (featuring Noreaga & Kurupt)
Clipse - Got Caught Dealin' Pt. 2
Clipse - You Can't Touch Me (featuring Lee Harvey and Nako)
Clipse - Watch Over Me
Clipse - The Funeral

Tuesday, April 3, 2007

You Read the Book of Mackin', Now it's Time to Meet the Author


King Asiatic Nobody's Equal is one of the smoovest, pimpinest, and wittiest emcees to ever touch the mic. When he came out his delivery was innovative, his lyrics were high caliber, and his swagger was untouchable. Although he may often fall behind KRS, Kool G, or Rakim when his era is remembered, Kane has earned his spot on Hip Hop's Mount Rushmore. Responsible for two classic albums, and dozens of classic singles, BDK lost his claim to the hip hop throne in the eyes of many with his early nineties crossover attempts. While these R&B and soul influenced joints may have been much maligned by hip hop purists, they laid the foundation for the artists like Biggie, Jay-Z, T.I., and Nas to reach multi-platinum success. In fact, you'd be hard pressed to find a great emcee who doesn't list Kane amongst his influences. Punchline rappers, pimp rappers, hustler rappers, gangsta rappers, and nerd rappers all take notes when Mackula spits game.

Although he hasn't released a proper full-length since the mixed bag '98 release Veteranz Day, I've put together this mix (ok so it's really just a collection of mp3s) of material he's released since that album. All-in-all it's 21 tracks with too many features to be a real Kane album, but there's a good mix of bangers in here, so hopefully people enjoy it. And if anybody knows how to get in touch with the Big Daddy? Tell him to put another freakin' album out already.


Here's the Tracklisting:
1) Kane In Ya System ("Freestyle")
2) Platinum Plus featuring Big L (Produced by DJ Premier)
3) Three's Company (Produced by Marley Marl)
4) Class of '87 featuring Kool G. Rap & KRS-One (Produced by Agallah)
5) The Jump Off (Produced by Mighty Mi)
6) Next Up featuring UGK & Kool G. Rap (Produced by Marley Marl)
7) Flame On (Produced by DJ Rob & Domingo)
8) 3 To The Dome featuring Kool G. Rap & Chino XL (Produced by King Tech)
9) Come Get It featuring Checkmark (Produced by Soul Supreme)
10) Cameo Afro featuring GZA & Suga Bang (Produced by The RZA)
11) Mackula's Theory (Produced by Prince Paul)
12) Any Type of Way (Produced by DJ Primier)
13) Just Rhymin' With Kane featuring Just Ice (Produced by DJ Premier)
14) Stick Up featuring Afu-Ra (Produced by Curt Cazal)
15) Give A Demonstration Pt. 2 (Produced by ???)
16) The Man: The Icon (Produced by Alchemist)
17) Welcome To Durham (Produced by 9th Wonder)
18) Hot Shit featuring Greg Nice, Guru, & Sadat X (Produced by Da Beatminerz)
19) Bed Stuy Represent (Produced by Domingo)
20) A Day At The Races featuring Percee P & J5 (Produced by Cut Chemist)
21) Off Limits (Produced by Aphrodite - a DnB producer)


PS - if anybody has that UGK track without the DJ drops holla at me so I can update the mix (for those that are worried, none of the other tracks have drops on them).

Monday, April 2, 2007

The Depths


There was an interesting subject of discussion brought up by Magneto over at the good world of PhilaFlava.com the other day. The topic was whether DMX was the only gangsta rapper to not engage the realm of drug salesmanship on record. The discussion soon devolved into a semantical argument about the term "gangsta rap." The truth is there have been occasional references to narcotics distribution in X's music (one of which is below), but they are only occasional and in passing. And in actuality there are a few other gangsta rappers who don't boast of hustling. If you're talking about keeping it real though, no one keeps it realer than D. DMX is exactly the same person on record as he is in real life. And if you've ever had the pleasure of being on the block when he comes through, or chilling and smoking a blunt with the man, then you know this.

All realness aside, D was also a force to be reckoned with on the mic or the stage. To paraphrase a recent interview Chuck D from PE felt that he knew Jay-Z was the one after seeing him perform after DMX every night on the Hard Knock Life Tour. That gives you the idea of what the co-creator of one of the greatest live shows in the history of hip hop (Chuck) thinks about DMX as a performer. As an emcee nobody has brought more emotion and energy to a recording than DMX. Ghostface, Tupac, Ol' Dirty Bastard, and Onyx in one. While he wasn't lyrically on par with a lot of his peers, he had the whole industry shook in '98 when he threw his own version of Dante's Inferno into the ring with his '98 debut It's Dark and Hell Is Hot and quickly got his "sophomore slump" out of the way dropping Flesh of My Flesh, Blood of My Blood in the same year. Both of those albums were Billboard number ones, and multiplatinum (first time that was done in the same year), as was his third album 1999's ...And Then There Was X. Ultimately X flooded the market, overexposed himself, and simultaneously made millions, losing the raw hunger that made him so capitivating in the first place. He's since had his struggles with the law, the media, and the industry, but I tell you this: If DMX had offed himself in 99, people would have Kirt Cobained the shit out of him.

Needless to say, at "It's Just A Hobby That I Picked Up In The Lobby" we're for the children. DMX in 2007 is a jaded shadow of himself ten years ago when he was able to channel his manic-depression and drug addiction through his starving, growling mouthpiece to manifest pure aggression. So for those young'ns out there, here are three tracks from DMX's demo pressing, mixtape circuit, radio show freestyling days as well as two personal favorites from It's Dark and Hell Is Hot.


DMX - Make A Move
DMX - Shorty Was Da Bomb (One Take Demo)
DMX - Can't Touch Me Kid
DMX - Intro (Off It's Dark and Hell Is Hot)

Welcome To The Lobby

Well if you know your Wu, then this post won't be anything new to you. Just needed to do a little introduction, and I'll hit y'all with some more shit later. This is a blog free of any particular agenda or gimmick, but just designed to bring y'all good hip hop music as often as possible. I don't do the whole digging through shoeboxes of tapes or vinyl b-sides looking for gems never before heard on mp3 for two reasons: 1) Too many bloggers already do that shit 2) Half the time I like the shit that made the cd better anyway. So if you're super-duper digger blogger demo man, that's cool keep doing that shit, but this probably isn't the blog for you as I don't plan to blow too many new doors off the hinges for you.

So I thought I'd start with some real simple joints that a lot of y'all are probably up on, but should definitely enjoy. The truth is I'm not sure exactly what the story is with the original version of "The Watch." From the subject matter it's clear that Ghost and Rae are in a late 90's New York City when if you "turn on the radio all you hear is X and Jigga," leading me to guess that this was left off of Bulletproof Wallets or was at least recorded sometime after Supreme Clientele (note that he also references "Cherchez La Ghost" with the "shit I wrote with Golden Arms" is a hit).

Wherever Ghost intended this record to end up, it never did, probably because he had issues with the sample at the time. Interestingly, both the concept and the beat ended up elsewhere. Alchemist flipped the sample almost identically for Nas on the Lost Tapes version of "No Idea's Original" (which was originally released with a different beat as a bonus track on Stillmatic, included below) and they somehow managed to clear it. Go figure. And as for the concept, it ended up being reworked a little and included as perhaps the only redeeming track off Raekwon's much maligned The Lex Diamond Story. "The Missing Watch" also features Ghostface, but follows a different storyline over a different beat. Eventually after a few bootlegs and J-Love mixtapes the original "The Watch" finally ended up on Ghostface & Trife Da God's remarkably underappreciated Put It On The Line CD.