L*Roneous – Notes Of The Righteous Outlaw (2011)
- The Notes (ft. DJ Cue) (Prod. By Gennessee)
- Outlaw (ft. Haze Of 40 Love) (Prod. By Miko)
- My Name (Prod. By Rick D)
- The Message (Prod. By Essence)
- Full Metal (ft. DJ Bizkid) ( Prod. By Russel Fong)
- Saks Piff Avenue (ft. Great Muta) (Prod. By Freshchuck)
- The Sound Of Color (ft. DJ Troubleman) (Prod. By Def-1)
- Happiness (ft. Gigio) (Prod. By Dren Doh)
- Gas (ft. Spank Pops) (Prod. By All_Key)
- Righteous (Prod. By Def-1)
- No Titulo (Prod. By Equal)
- Complexity (Prod. By Static Elastic)
- Ducking The Dogs (ft. Flight27) (Prod. By Static Elastic)
- Evrybody (ft. Subverse and Equipto) (Prod. By Cozmo)
- Beat Sing (Prod. By Scienz)
- Fade Away (Prod. By Russel Fong)
You need this in your life. You need to listen to this release right now! Is that direct enough? This is one of those albums that has massive replay value. I could listen to it again and again. There are no weak tracks and there are certainly some bangers. Lyrically, L*Roneous has complex and sometimes abstract wordplay, with a lot of message to back it up.
The production is done by about twelve different persons. I find this to be pretty incredible, because the sound is consistently dope. Aside from maybe one or two tracks I would rank the production throughout the album as top notch. The album has ebbs and flows musically which I really appreciated. Too much of even a good sound gets a little mundane nonetheless something that sounds tired the first time. Things change periodically throughout the album, peaking your attention and keeping it diverse.
I always like to touch on two to three songs on album to give you an adequate representation of what the entire body of work has to offer. It was very hard to pick the three tracks from this album because they were all quite good but I will start off with the Russell Fong produced joint, Full Metal. Now this song is something special. It is a true representation where skill realizes potential on all levels. Fong starts things off with a string sample, which leads to an unassuming drum pattern, but when he hits you with the chorus you know that the song is golden. It’s such a smooth track. Part of what makes it smooth is L*Roneous rhyme patterns and breath control. Throughout the track it feels as though he is almost sparring with himself. What makes his style different is his use of assonance in the bars. He puts phrases together cleverly and when combined with a non-stop flow it just sounds so fluid.
No Titulo, produced by Equal, can also be described as being incredibly smooth. L*Roneous treats the beat here like a journey. He is just taking us on a trip over the production. Musically, Equal keeps things engaging by adding different sounds and voices, giving the cut more depth. I tried as hard as I could to put some of L*Roneous’ bars on paper so that one could get a sense of the structure, but that’s a no go. His rhyme patterns are so well woven and fluid that I could not do it justice. He’s not a punchline emcee. He’s not going to drop that jaw-dropping one liner. To the contrary, his whole flow is jaw-dropping. You have to listen intently or you may miss something.
The most aggressive production on the album is brought to us by Static Elastic on Ducking the Dogs. The music is stalwart. The piano riffs, the engaging beat, and the sample have all the makings of classic hip hop. L*Roneous from a lyrical standpoint breaks down the ills of society in the Black Community provoked by external factors. Who brought the drugs? Who brought the guns? Who promotes stereotypes? Who promotes inequality? These are the questions I asked myself as I was listening to the track. He eludes to the slavery of the past to compare to the slavery of the present. A very powerful track.
Right now I will call Notes of the Righteous Outlaw a personal classic. Yes, I used the ‘C’ word here. This release really encompasses what it means to be an emcee. L*Roneous has all the skill to rock mics, but beyond that, he has the depth to make you think beyond simple phrases. He gets the listener thinking conceptually. Musically, the album, is almost impervious to criticism. It is both captivating and interesting. It goes without saying that this album belongs in your collection and you will be playing it for years to come.