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Both of these tracks attempt to try a different musical style, and both work admirably given their context on an album of such vanilla hip-hop. A female vocal has also been implemented but if anything, this feels like a little of an overcompensation, as if to say, ‘look, we used ‘Liberian Girl’, but we didn’t just change the words….we put a woman singing in it too!’ Similarly, there are a few tracks that attempt to alter the stylistic mood of the release, with such rebellious anthemic tracks as ‘All Out’, ‘When Thugz Cry’ and the chilled summer strains of ‘***in’ With The Wrong Nigga’. Unsurprisingly, though, Pac’s lyricism and vocal tone construct an impressively sentimental and emotive rap ballad that has a feel of genuine vehemence coupled with a touching melancholy to its’ cutting sound. In the hands of a different rapper, this could have ended up the most unholy and volatile collaboration in hip-hop since Anthrax and Public Enemy decided to ‘Bring The Noise’.
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Such an example is the whimsical ‘Letter 2 My Unborn’, which features a sample from Michael Jackson’s 'Liberian Girl' as the main backbeat. Somewhat carelessly, the release’s track order highlights the album’s many mundane tracks, whereas the more impressive moments on the release are exaggerated by their inclusion alongside such lesser material. Unfortunately, both songs are functional but are ultimately just filler material, featuring little memorable facets aside from the rhymes themselves. In particular, ‘Let ’Em Have It’ features a female vocal performance by Honey that affords the song a whole different sound. Other tracks such as ‘Let ’Em Have It’ and ‘Breathin’ serve as grassroots gangsta rap deals, with beefy basslines and enjoyable choruses on both. ‘Lil’ Homies’ in particular is very soulful and funky, but the chorus isn’t as streamlined as it might be, introducing too many conflicting elements for too short a period of time. Certain tracks, such as ‘Ballad Of A Dead Soulja’ and ‘Lil’ Homies’ highlight the silky combination of Pac’s delivery and striking but minimalist beats. The usual topics of street life, gang life, and life in general are covered heartily and with the streetwise eloquence Pac is famous for. As usual, though, the one thing that is not in question is 2Pac's rapping ability, which is, as per usual, top notch. Rather regrettably though, both disks have a overproduced sound to the music, making them difficult to be taken seriously. Obvious misfires sit shoulder to shoulder with the better moments, and when it’s 2Pac, the misfires are at least splendidly ambitious. Pac was a voice of reason for so many people, and an inspiration in his own right is it not demeaning to his legacy to continue releasing woefully subpar material just for the sake of spinning a quick buck?īoth disks of Until The End Of Time lack a sense of cohesion, mostly owing to the fact that the album is better referred to as a ‘collection’ than an album. They have created a musical smog that has clouded who Tupac was in life and replaced it with a romanticized impersonation courtesy of a balding man in an expensive tie. Whilst studio executives, put-upon DJs, and big name 'producers' beaver away at producing the next album to stamp with the Pac seal, the purple haze of misinformation they produce is baffling. Others have allowed an ungodly amount of attention paid to remixes. Others have heavily relied on a more mainstream sound to launch interest. A number of them misunderstood the whole appeal of Pac's venomous delivery, emphasizing updated aspects in terms of music in a misguided attempt to keep the releases relevant.
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Unfortunately for Pac, the majority of his posthumous releases have been rather dry in certain aspects. His quintessentially ‘gangster’ tirades and imagery were backed up by an impressive depth and fittingly important morals, which renders the majority of his material as just the right mixture of street vibes and intelligence. Tupac Shakur has always been notable for his vocal dexterity. Review Summary: We’re in danger of losing who Tupac actually was in favour of who his albums tell us he is