There was a tweet recently lamenting modern day posse cuts, stating that they were more about business opportunities than hungry MC’s just trying to rip a track. It hit the nail on the head, as cross-pollination in marketing and “hustle” seem more important than just jumping on a track and making it hot. Fortunately, that’s not quite the case here, as “Radha” combines a brilliant beat with multiple MC’s detailing their travails with the opposite sex. Whilst not every verse hits the mark (Raver’s is a touch simplistic), most of them certainly do. Kan D Man is fast developing into a truly talented artist with flow, lyrics, and an ear for how to stand out. Raxstar and RKZ do precisely what you’d expect them to over a concept track, with Raxstar in particular firmly in his female-friendly groove. The instrumental, chorus, concept and video (by Creeping East) all work hand-in-hand with the MC’s to deliver a thoroughly enjoyable posse cut that has genuine replay value. (Reviewed by Rahul)
Ahhhh, so this is what we were waiting for… Featuring a nice feature from The Truth, and possibly the best beat Mentor has produced in years, Juggy D comes back hard on “Okhe Pound” – an absolute banger that works excellently on every level. Juggy sounds fresh, focused and he delivers his impressive vocals with subtle aplomb; The Truth does a solid job, adding another authoritative voice to the mix; Mentor smashes the hell out of the instrumental, and that’s just the first twenty seconds… It is tough. Familiar samples mix with modern percussion rhythms, resulting in a genuinely interesting sonic feast. When Juggy and Mentor click, all these years later, it’s nice to know that they’ve still got “it” – consider this a success all round.
To call this a “music video” does a great disservice to actual music video directors everywhere. The very fact that we first saw it on B4U Music was, in itself, shocking (the budget must barely have broken two figures) and it appears to be more of a commercial break extolling the benefits of using Michelin tyres. Needless to say, Sham D – the poor sod – doesn’t come across well at all, visually, and his “PR company” should feel ashamed. However, luckily you can close your eyes and just listen to the song, which is a bit better, and decent enough pop fare. It’s obviously very cheesy and Jay Seany, but it’s a “nice” track (whatever that means). Whilst the production is a bit too sparse, and the vocal effects overpowering, it’s well-written enough to mask the failings. Next time Sham D would probably be better off doing all the work himself, to be honest.
After his debut – surely one of the few genuine true-blue classics of new-millenial Asian music – you wait SEVEN YEARS and this is what turns up. It’s not bad, by any stretch, but it is certainly an inoffensive disappointment that doesn’t compare to his previous dalliances with Mentor. It comes across as somewhat cynical, disingenuous, focus-grouped… These are words that we never used to associate with Juggy. Indeed, it’s the sound of someone that seems exhausted musically, and has probably missed the opportunity to progress artistically, so is basically just now making music to pay the bills.
Say what you want about Rishi Rich, but he knows how to take his time and develop an artist in a precise, methodical manner. The long-term results might be questionable, but he’s a hard task-master who knows how to get immediate brilliance. Case in point: Juggy D. He could have rush-released some bollocks to capitalise on Juggy’s stellar performance in 2002’s gigantic “Nahin Jeena” – but lead single “Sohniye” proves that Rich was correct in waiting and perfecting the end product. Juggy’s infectious energy means that you can’t help but be swept away; Mentor provides a pitch-perfect beat; and the gloriously uplifting playground chorus helps to make this an all-time, cross-generational classic.