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"As Nasty As They Wanna" be was released in 1989, and came as the third album from 2 Live Crew. The Miami group finally hit it big with this release, mostly down to the large amount of attention it received when it was temporarily banned in their home state for being so explicit. It has them, headed by Luke Skyywalker, performing the Miami Bass style of rap that Luke (Luther Campbell) pioneered as it took from the Electro-Hop phase and took it to the Dirty South.
1. "Me So Horny"
To start the album off we have a tune which could be their most well-known by the commercial listeners. Personally, I don't think that there is a lot going on in this one, and I'm sure that you will get bored of it all quickly. The only good things about this one is the way that they take on samples, and utilise them effectively. The outcome of the track itself is poor.
2. "Put It In The Buck"
You have them showing exactly how nasty they are with this one as they go straight from heir most well-known single to one which has them getting straight into some Dirty Rap as they don't mess around in warming you up for anything, they just go down to some hardcore rhymes referring to what they get up to in the bedroom.
3. "D**k Almighty"
You may recognise the opening to this as it is an adaption of Whodini's "Big Mouth" , and so you are forced into a Old School-sounding tune, which has heavy bass to remind you of the earliest years of mainstream rap, and the wy that it was all composed, but the content of the raps would ahve been a lot more up-to-date as they get dirty.
4. "C'Mon Babe"
The general them of the first few tunes is carried through into this one as you have them coming with more Dirty Rasp, where all the lyrics concentrate around them rapping about sex, and what it is like when they are involved with it. As others on the album, this one is built on lots of moans from females to build up the atmosphere, but the track itself isn't really worth listening to.
5. "Dirty Nursery Rhymes"
You have them doing just what is expected from them as they adapt existing nursery rhymes over to their Dirty Rap style of things. The clumsy beats make it seem effective in ever aspect of it all, but you may already be tired of the excessive use of explicit lyrics.
6. "Break It Down Now"
This one seems to be a much higher-quality to the majority of the work here, you have them doing a tune which seems to take lots of influence from the sounds of New Jack Swing (which made just come up at the time). As well as this you have some fly raps, which take you to a time jus prior to when this was released.
7. "2 Live Blues"
They decide to change things up for this one (just as they will later on) as they experiment with the Blues. It is a simple one which places all its hope of success on its humour, but I can't say that I felt much for it as it all seemed a little too forced, and repetitive (especially with all the other tracks so similar to it).
8. "I Ain't Bulls****in'"
This one is based upon the words of Richard Pryor, and I felt that it was one of the better tunes that you get on here as they use it effective on top of some exciting, bassy beats to show that they aare able to stick within their boundaries, and bring in completely new things too. It uses lots of the Ols School Hip Hop beats (early eighties) and it means that the lack of rhymes is made up for.
9. "Get Loose Now"
You have them getting funky on top of Beastie Boys and "it takes Two", and its Old School appeal leads it to becoming a banger of a tune with them going all-out with a highly-energetic appraoch to it all and relying heavily upon the samples that were utilised by them (not that this is a negative).
10. "The F**k Shop"
There is heavy use of Guns N' Roses' "Sweet Child Of Mine" for this one, and it sets it up to be a kind of Rap Rock thing that you would have heard with Run-D.M.C aroudnthe time. I felt that it came across this way, but I really didn't like this phase from them, so I felt nothing for it as they just used this as backing to a Bass tune and them did more nasty rhymes.
11. "If You Believe In Having Sex"
On this one you have the whole thing based around the whole call-and-response style of doing it all, and it was effective for doing this. At the time it would have been a big one for what it does, but those listening-in now perhaps wouldn't get it.
12. "My Seven Bizzos"
This is another nasty one from them, but I think that it was a lot better than most of the tunes here as you hear the crew coming together to rap on top of The Jimi Hendrix Experience's "Voodoo Child". It is highly effective work that uses the hook to its full, potential as they speak of how each day of the week has them with a brand new girl.
13. "Get The F**k Out Of My House"
This one is based around a sample of an Eddie Murphy comedy show. It gets them using it to turn things into a straight Bass track where they strip it all down to Electronic beats and heavy bass. I thought that the fact that they only used this one line for the whole thing made it pretty monotonous to listen to (especially since it spans nearly five minutes), and nothing much actually happens in it.
14. "Reggae Joint"
I was really surprised by the fact that this one has them performing a tune with authentic-sounding Dancehall from this time, where it immerged as a separate genre out of the Reggae scene. The beats are big, but I thought that they spoiled it by simply mocking it with them just taking the mick out of what is done in this type of track. It seemed as though they knew a lot about it, but wasted the potential of it.
15. "Fraternity Record"
Although I should be criticizing this one heavily for the fact that it gets the crew doing a tune with very little going on when it comes to lyrics, this type of stuff really hits you as they involve the listener in the way that you have them calling out frat groups, and making the listeners chant back their feelings towards them. This shows where the entire Buck scene has come from in the Memphis and Atlanta Crunk work of today.
16. "Bad Ass B***"
Thetype of funky percussion that was found in "Break It On Down" is carried directly into this one, and I felt that by using this, it took the attention off the fact that they were doing another unneccessary attack on women with highly mysogenous lyrics. However it is a funny one, and does capture you (if you allow them to).
17. "Mega Mixx III"
This follows on from two other big mixes that were found on albums from them. Luke showing off his skills when it comes to making quality Bass music, and it has him doing things in a largely-instrumental tune full of straight-forward Bass. He doesn't waste time with lyrics. He just uses lots of the original stuff from Kraftwerk.
This is a gentle one to end the album off, and I'm sure that you will like it (if you've managed to stay with it all the way through). You have them just chilling for the final tune on the album as Uncle Luke raps with a style of right back in this day, and it leads to him coming out with a decent one where they just calm things down and go for a laid-back recording.
I have to say that for the top performers in Miami Bass, this one is pretty weak, and hardly gets them doing the proper Bass work that dominated the first records from them. It has them moving more into the mainstream audience with their style, which has them concentrate on safer subjects, although lots of the content is very explicit, and not all will enjoy the copious references to sex. At times I found it quite monotonous hearing looping beats and single lines being repeated, so I could only get into a couple of those, and the more lyrical ones were much cleaner.
Disc #1 Tracklisting
1 Me So Horny
2 Put Her in the Buck
3 D.K. Almighty
4 C'mon Babe
5 Dirty Nursery Rhymes
6 Break It on Down
7 2 Live Blues
8 I Ain't Bullsh****n'
9 Get Loose Now
10 F**k Shop
11 If You Believe in Having Sex
12 My Seven Bizzos
13 Get the F**k out of My House
14 Reggae Joint
15 Fraternity Record
16 Bad A.. B...H
17 Mega Mixx III