9/10/2023 0 Comments Rush hour 3 soundtrackThis is followed by what may be the album’s other true crossover hit, the smooth R&B track “Keep it Real (Tell Me)” by Musiq with excellent rap verses by the Funk Docta himself, Redman. The insipid “Love Again” by Dru Hill with Jazz and a normally refreshing Jill Scott just kills any buzz that you had. Unfortunately this album seems to have failed to capture the spark of it’s predecessor, as songs like these are packed around too many mediocre cuts. I sail the seven seas, pack ’em in like sardines You mindless, spineless, jellyfish I eat MC’s. I’m an underground rapper with a chip on my shoulder solo album would be like, fans and hip-hop heads alike will definitely be pleased: ![]() If this is any indication what a new K.M. Blige over run-of-the-mill beats.įortunately, Keith Murray blows all this shit out of the water with the track “He’s Back” thanks to a re-energized flow (much better than his rap on Redman’s “Malpractice”) and a fat-ass Rockwilder beat. Following this with Kandice Love is ironically appropriately though since the cut is called “No.” Her themes of self-respect are worthwhile but have been better done by everybody from Destiny’s Child to Monica so “no” we don’t need to hear it from a weaker singer who is more Cher than Mary J. is not impressive enough to be doing a duet with an industry vet. The beat is a synthetic high speed equivalent of scratching nails on a blackboard and T.R. If any rapper could have carried Notorious B.I.G.’s legacy by doing a track of the same name, it would be him – but it has none of Biggie’s flavor or flow. Moreso anyway than the unfortunate “Party & Bullshit” by Method Man and T.R. Montell Jordan usually scores on a soundtrack and his “Mine, Mine, Mine” has an interesting beat that’s part thugged out bass and part smooth sensual piano ballad – whether this will make sense to radio programmers is anybody’s guess, but it’s an appealing song. The next three tracks may or may not have the same hit potential. (Even Flash Web Design Exclusive can take pride, because our four-oh-two got a shout too!) Some may view it as cheap, but if you just go with it and have fun, it’s all good. East to West heads are bound to pay attention to the track and throw their hands up when their own hood is repped. ![]() Nate’s silky chronic’d out singing and the humerous “every day is a hoe-liday” style rhymes of Luda would catch heads alone, but the real clever trick is shouting out every phone call zone known to man. Seperately it seems like they’re on every hit song in recent memory, but together they complement each other like a ready-made duo. Given than the soundtrack for “Rush Hour” was a big commercial hit with songs like “Can I Get A.” by Jay-Z, “Faded Pictures” by Case and Joe, and “How Deep is Your Love” by Dru Hill and Redman, it’s no surprise that Def Jam got a movie soundtrack in stores as fast as possible too.Īs of the writing of this review, they have already succeeded in scoring at least one major hit with “Area Codes” featuring Ludacris and Nate Dogg. Given that the film “Rush Hour” was a big commercial hit for Chris Tucker and Jackie Chan, it’s no surprise that New Line Cinema got a sequel in theaters as fast as possible.
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