Ten Years and Gunnin’


There is no getting around the following admission: M.O.P.’s so-called “greatest hits” album, 10 Years and Gunnin’, is a shameless attempt sell records, and there ain’t much “great” about it at all. Ten tracks, nine songs (“Ante Up” appears in its original form and as a remix) amount to forty uninspired minutes of wannabe-thuggery.

This album is plagued with hackneyed lyrics (“comin’ to bust gats, but I bust raps / I keep the heads boppin’•”) and insipid production (a clumsy pastiche of insufferable 80’s samples, extrapolated from the likes of “Eye of the Tiger” and “Cold as Ice,” set to flaccid beats). This ain’t the same M.O.P. that, a few years back, raised the bar of hardcore thug rap with visceral storytelling and an unrelenting — almost screamed — delivery, set to the insinuating soundscapes of DJ Premiere (e.g. “Downtown Flow” and “Breakin the Rules” from First Family for Life). Thug rap (or whatever the fuck you wanna call the East Coast’s — particularly Brooklyn’s — response to Tupac’s thugisms) languishes today, and Ten Years and Gunnin’ is a fine attestation as to why.

The promise that M.O.P. evinced when they dropped To the Death and Firing Squad has been compromised somewhere along the way. Maybe it’s because they’ve compromised their blues roots for pop sensibilities that merely pander to mainstream (read: white) America’s notion of ghetto reality while somehow convincing themselves that they are still “keeping it real.” Perhaps it’s because Biggie and Tupac have been dead long enough (notwithstanding the incessant stream of posthumous releases that might suggest otherwise for the latter), and Dr. Dre is off running his minstrel show, that M.O.P. have become complacent and somewhat lackadaisical with their craft; after all, who else is gonna set new precedents in the genre, some white boy from Detroit?

Columbia Records: http://www.columbiarecords.com/

Leave a Comment

Your email address will not be published. Required fields are marked with *

Cancel reply

Recently on Ink 19...

  • Gregg Allman, RIP
    Gregg Allman, RIP

    Michelle Wilson gives tribute to the voice of an angel. Gregg Allman, RIP.

  • Preservation Hall Jazz Band
    Preservation Hall Jazz Band

    So It Is (Legacy). Review by Bob Pomeroy.

  • From Montenegro to Moldova: The Best of SEEFest 2017
    From Montenegro to Moldova: The Best of SEEFest 2017

    For the twelfth year, the South East European Film Festival (SEEfest) in Los Angeles showcased an impressive lineup of new features and shorts. Lily and Generoso Fierro provide a festival wrap up and their picks for the films that you cannot miss.

  • Justin Townes Earle
    Justin Townes Earle

    Kids In The Street (New West Records). Review by James Mann.

  • Christian Scott
    Christian Scott

    Rebel Ruler (Ropeadope / Stretch Music). Review by Bob Pomeroy.

  • Temples

    Supporting their just-released sophomore record, UK synth-pop poster boys, Temples, attracted an SRO crowd to one of Orlando’s premier nightspots.

  • Kivanç Sezer
    Kivanç Sezer

    Turkish director Kivanç Sezer’s powerful debut feature, My Father’s Wings, puts the spotlight on the workplace safety crisis that is currently taking place in his homeland. Lily and Generoso Fierro spoke with Sezer at SEEFest 2017 about his film and his need to draw attention to this issue.

  • Rat Film
    Rat Film

    Baltimore. Rats. A match made in Maryland.

  • Bishop Briggs
    Bishop Briggs

    Bishop Briggs brings a stacked bill of up and comers to Orlando for a sold-out party at The Social. Jen Cray joins in the fun.

  • Rumble: The Indians Who Rocked The World
    Rumble: The Indians Who Rocked The World

    There’s more than black music influencing the evolution of Rock and Roll. Native American rhymes and ideas are every bit as significant, once you know to look for them.

From the Archives