“ Artist: Saigon / Genre: Hip Hop / Label: Amalgam / Release Date: 2009 „
Despite not initially intending to do so, the Brooklyn-raised rapper Saigon constructed (wrote and recorded) his second album in just 24 hours, and so appropriately named the project "All In A Day's Work". With it starting off as a normal studio session, it features the production of only one producer, Statik Selektah, who pushes this 2009 album as something which fits in with what the New York rapper represents.
1. "To Be Told..." (Intro)
2. "So Cruel"
To get this thing underway properly you have Statik Selektah coming with come fresh beats which appear to have taking inspiration from the diversity found in the music of the eighties. It is a great way to get you into the thing, and it finds him making the most out of the deep grooves to come with some laid-back flows which are quite clearly improvised.
3. "The Rules"
He warms things up before he jumps in on this one, and it finds him trying to find exactly where he wishes to redirect his feelings as he goes towards something which contrasts quite sharply from what was heard in the tune prior to it as he pushes this one into the underground direction and seems to be driven towards the Gangsta Rap side of things.
4. "My Crew"
The beats in this one really don't fit with the lyrics at all as it is all dreamy stuff which you get from Selektah, and he brings this as Saigon describes the types of things that he posse will do to any opposition he faces, it is a killer tune and surprises you how he chooses to go about things on top f some production which you wouldn't have ever associated with what he drops on it.
5. "Prepare For War"
He continues what you get on the two tunes prior to it as he goes hard in this one, and it appears that he has been given relevant beats to match with it here as it is a lot more conventional. I would have to say that the stuff which he comes up with is extremely strong for something he must have done in a limited amount of time, and the fact that he is able to stay to the subject matter and do it all effectively is incredible.
The beats in this one are hardcore, and I would have to say that they are the best that you find in the whole of the thing as it has him experiment with all that is and has been popular over the 30 years of Hip Hop with the hard kicks, freaky Primo-esque scratches and even a little screw added to it to round it all off. Of course the flows are as good as ever and make you more excited for what this recording has to offer.
7. "Lady Sings The Blues"
The chipmunked sample which greets you here really makes you reconsider all else that you heard earlier on in the album as it allows him to explore a much softer side of his personally, but it appears that he didn't keep this up for long as he tried as quick as he could to move on from this, but I wouldn't say this is a bad thing at all. The input he brings in the second chorus is funny, and shows how diversity he can be.
8. "Lose Her"
He opts for a track where he puts the female as the key riving force to the track, and so it means that he isn't allowed to let his mind wander with the floaty beats, and it appears that he chooses to allow this harder side of him come through with rhymes completely disconnected from the theme, but to put this as the main inspiration for the tune as his woman has caused him heartache, and as a result wants rid of her.
9. "Goodbye" (Lude)
10. "The Reason"
The kickdrums in this track are heavy and have been used so many times over the years. On these you have Saigon speak upon why he got into the game and how things have become corrupted as people's focus has gone from portraying the streets in an authentic manner than to take advice from major label's A&R men.
11. "I Warned You"
To finish this thing we have him doing what he describes as an "encore" to the album, and it is certainly valued as a final addition o the album as it has Statik Selektah bring out the last banging beat which he had to deliver, and it appears that the rapper just tore things up with them. It is an incredible way to finish it all off, and rounds the record off perfectly.
Despite it being a pretty short album, lasting only thirty minutes, each and every track on the thing is worth listing to and highly impressive when you take into account just how long it took to construct it all. At times you can ell where he wastes bars, for example on one particular tune where the hook runs for a fair bit too long, but he makes up with this with some complex flows which you would expect to discover here.