El Gant and Bekay did not hesitate to say yes when Rediculus and Skeezo asked them to contribute to their song, and once they
heard it was called “Watch Ya Step”, they went for it. Okay, maybe that’s not the way it happened, and I don’t know if the song title was already pre-selected before it was over, but it makes for a hopeful concept. Whatever way it worked, the concept is now reality, and here it is. The song can be found on the “Stuck In Da 90’s
Rediculus is definitely getting ridiculous with his release program, coming out with some quality music and this one is part of his plan. It’s called “Kalashnikov & Kush” and it features Shabaam Sahdeeq, Bekay, Famoso, and El Gant helping out. You want more ridiculous? Take a listen and find out how this song is.
While many fellow writers and journalists offered their “best of” lists at the end of 2013, Bekay has decided to give his review of the year that was in song. Here he is with a track he appropriately calls “2013 Year In Review”, events that you may remember, had read about, or maybe knew of in passing. If you aren’t able to catch the references, you can read along with the lyrics on the Soundcloud page.
Bekay has been making some nice hip-hop for quite some time, and now he brings his lyrical and verbal skills to Alterbeats, who decided to hook up with the MC and put together “Idol” for the Class Struggle
album. Nice work here, guys.
A hip-hop that begins with anger has a point to make, YOU DON’T COME OFF SLAPPING PEOPLE LEFT AND RIGHT WITHOUT EXPLAINING YOURSELF!!!
Anyway, Alterbeats have released The French Revolution, bringing on a wide range of MC’s to take their music and move it into new places. This includes help from… well, look at all of the people tagged for this review. Chief Kamachi, Murdoc, Bekay, Shabaam Sahdeeq, Reef The Lost Cauze, Willie Maze, Halfabrick, Estee Nack, Sadat X. That’s an incredible wealth of artists and artistry on this, and the exchange between each of them with one or another will make you want to buy, hear, and absorb for weeks, months, and years to come.
Is it angry now? Now, this is just what hip-hop is and always will be: a celebration of beats, rhymes & life, without fear.
Bekay is back!!!
Well, he has been around but way in the distance, and the issue here is that he has returned and has a new track. He’s going to cut people up with “15 Months Of Bloody Violins”, a track produced by DJ Morte. Take a listen, or even better: if you like it, download it for free.
El Da Sensei has been one of underground hip-hop’s most exciting MC’s, and every time he comes out with an album or drops a cameo, you can’t help but move back and be impressed by it all. He has returned along with The Returners for a new one called GT2: Nuworld (Coalmine), and the man continues his wicked lyrical ways once again.
This time around he’s joined with Rakaa Iriscience, Sean Price, Treach, Bekay, and Akrobatik among others but throughout it is very much El’s game, and that’s a good thing. For the most part, the production of The Returners is very good but I found one problem with it, a minor one. The album features scratched acapellas from hip-hop songs of yesterday, something a lot of groups of the mid to late 90’s did, so it has that classic feel to it. Sometimes I felt the use of scratched vocals overwhelmed a song, or it gets to a point where the song felt more like the artist being scratched than El. There’s a track that samples Mobb Deep ridiculously and to good effect, but at the end I caught myself saying “oh yeah, this is an El album.” The scratching is great, don’t get me wrong, but too much of a good thing can sometimes be too much.
The one song I really liked, and one that didn’t feature any scratching, is a remix of “2 The Death”, by M-Phazes, featuring Mela Machinko. It sticks out because it features female vocals in the chorus, the only song on GT2 to do so. It isn’t new in hip-hop but it managed to end the album on a high note.
Could the album have been improved with a better balance of things, perhaps, but I don’t want to get overly critical here. But what is here is a good album that only gets weighed down occasionally by excessive scratches from the past. Otherwise, a fine job from El & The Returners.
Brooklyn to Brooklyn, when you can have an artist based from a borough work together with a record label within the same borough, it can be helpful for both parties. Such is the case with Bekay, who is now down with Coalmine Records. Bekay’s own name comes from one of the many nicknames Brooklyn is known as, and if you’re an avid hip-hop fan, you’ve heard of BK from spending time on 106th & Park and maybe the Rawkus 50. But now Bekay is ready to take things to much higher levels with the release of Hunger Pains (Coalmine), and the title explains it all: the man is hungry.
First off, the anger. Some may known him as a battle rhymer, so by doing battle raps one has to ask what is he battling? In one of the tracks he condemns those who feel a need to constantly compare him to Eminem, from the way he flows to the shock value of some of the lyrics. But what does Bekay do? To make a point, he rhymes exactly like Em and does it with a fervor in his voice that you’re wondering if you’re hearing something from Brooklyn or from 8 Mile. That’s the purpose, to strip away the similarities in skintone and make blanket statements based on that.
The rest of the album is a nice attack of the senses, people who love nice rhymes and flows will be comfortable with the way Bekay sounds. In “Bloodsport” he confronts anyone who thinks they can step up to him and cut up Bekay’s shtyles. What is interesting is that he isn’t afraid to be in-your-face, so he’ll be saying words that normally one wouldn’t expect for an MC to say these days. He’s the kind of guy who doesn’t give a fuck what anyone says, but then again, that’s Brooklyn. You’ll hear a sound that is very much not only a Brooklyn thing, but an NY thing, so he goes out of his way to use hip-hop traditions for his own benefit, without taking away anything from who and what came before. The battle rhymes are a nice kick to the teeth, but he’s capable of proper song construction, something some battle rhymers tend to have problems with. Bekay doesn’t. When you also have artists like Heltah Skeltah (in the great “Crazy”), Inspectah Deck, Masta Ace, and R.A. The Rugged Man helping you out, it doesn’t hurt. These guys could easily say “I’m getting money to be on this track, let me rip you open” but it’s not like that, each of the contributors are here to show support and say “now check out Bekay”. It’s a good thing, and Bekay is in full swing.