RDC is a popular Melbourne (Australia) based crew. The Melbourne sound runs rampant throughout this album, which for the listeners can either be a good or a bad thing. For me, it’s a good thing, as I’m sure it is for many others out there. Now, I personally feel that the best way to review this LP properly is to break down each track, so bear with me as we go through this compilation....
The album is kicked off with ‘Instinct’, by MC, Producer, DJ & "Renaissance man of Melbourne hip hop," Prowla. Prowla puts in his usual vibe & comes up with a nice track which displays why he is respected by all & sundry. ‘Instinct’ is guaranteed to give your neck a work out.
The next track, by Balans, is titled ‘The Lyrical Commission’. Balans is a talented lyricist without doubt & his somewhat monotone voice fits the deep piano beat nicely. The local references Balans makes in this track, and his strong Australian accent might make it sound sort of unusual to international listeners, but hey, expand your minds, it's worth it.
In my opinion, ‘Southern Hemispheric’ by MC Que is one of the highlights of this album. The beat is so good it brings tears to the eyes of producers worldwide (the producer; Jase, outdoes himself with every new beat). MC Que steps out of herself for about three minutes to give us a "birds eye view, unclouded by the smoke" of what is happening in her life, and in the Melbourne scene. The track is slightly intro/retrospective, which always appeals to me.
I pity the popper stopper used for recording ‘Chinese Drawback’ by Nilvoid. The beat is incredible (another splendid Jase creation, for those interested, Jase & Prowla also produced 7L & Esoteric’s ‘Protocol’), and Nilvoid (who guests upon this track) does nothing less than absolutely tear it up. His high paced, hyperactive delivery is dope, and the battle-ish lyrics fit together like connecting pieces of a jigsaw. ‘Chinese Drawback’ is another highlight of the RDC Compilation.
'32 Lines' by Dedlee is another nice track, but it doesn’t stand up to some of the other tracks on the album. I heard a rumour that this track was written, produced and recorded in less than an hour. It’s a solid song, but not a classic. ‘Slipping into Darkness’ by Leroy for Plutonic Lab. is a smooth instrumental. Dark, but not disturbing. I actually find it sort of relaxing. Nice samples, mixed together well. What else is there to an instrumental? ‘1.2. Drop a Verse’ is a DJ track by turntable instrumentalists DJ J-Red & DJ Diverse. J-Red’s stock has risen dramatically in the past year or so, and with skills like this, its not really any wonder why.
‘Freedom Fighters’ by Lazy Grey is about as Australian as Australian hip hop can get. Lazy Grey & Len1 make up two thirds of Boney Stoney Brothers (with Bias B), not that that was a particularly relevant fact, I just thought some of you might like to know it. Anyway, ‘Freedom Fighters’ is another good track, Lazy & Len rock along to the beat the way good little MC’s should. Nice cuts on this track too, I’m guessing by Prowla.
Every hip-hop head likes a well-made track about graf, ‘Between the Lines’ serves that purpose. Raise recalls some of his graffing experiences & lets us all know exactly why he loves the hip-hop, and, in particular, graffiti. Yet another "solid" track, but not really an outstanding song.
Troy from Wicked Mindz takes a vaguely familiar concept & expands on it greatly with his track, ‘Soul Terrain’. This is another of the highlight tracks for me. Dope theme and concept, nice beat and cuts, dope lyrics. I wont even try to describe this track, you need to hear it for yourself. The metaphoric insight probably doesn’t appeal to everyone, but it sure appeals to me, dope track.
For the b-boys, b-girls and b-people at heart, Jase throws in some electro. ‘Rock Da City (Battlecry)’ most likely wont appeal to those lovers of hip hop out there that love nothing but hip hop. This track makes me wish I could do head spins without breaking my neck or losing balance and crushing some innocent passer by.
Overall, I like this album a lot, and will continue to do so for a long time. There are people out there that don’t like the Melbourne sound, and thus don’t like this album, but none of them are called Crixus and are writing this review. Much props to Jase, Prowla & the rest of the RDC people.