"Bigger and Deffer", released in 1987, was the second album from LL Cool J. It came a couple of years after his classic record, "Radio" came out, starting off Def Jam Recordings, and changing the face of Hip Hop forever.
1. "I'm BAD"
What is known to be his UK breakthrough single, and the top track from this album, "I'm Bigger and Deffer" has LL show that he has come to do just what he he did in "Radio", but on a bigger scale. LL promotes himself as a top perfromer in this field, and asserts it with strong rhymes, which where ahead of the time (although delivered in a fashion more popular a couple of years earlier).
2. "Kanday"
Using some killer beats, LL focuses his attention on the girls for a short while as he uses the production to his adavantage in speaking in a laid-back way as to how he works
it with the girl who goes by the name of Kanday.
**Four Stars**
3. "Get Down"
Here you get LL go for a high-energy rap on the breaks as he comes with an in-your-face style to show that he is able to work on just about everything when it comes to beats from Rick Rubin, LA Posse, Cut Creator and DJ Pooh. It is a big track and fits in with the care-free nature of muaic at the time.
4. "The Bristol Hotel"
Using a sample of Stetsasonic's "Go Stetsa I", you have LL rap and exiting one, in which he rpas about a prostitute who works at the location named in th title of the tune. The way that he works with the funky beats is incredible and dirves the tune.
**Five Stars**
5. "My Rhyme Ain't Done"
This is an interresting concept track, in which he uses his talent to go for a track in which he tells various stories, but only half does them as he flow just doesn't stop. He comes up with lots of unexpected tales, where he takes the beats in as many directions he can, using this as a simple base to it all.
6. ".357"
You get some funky DJ Pooh prodcution in this one, and he offers a little West Coast falavpur prior to when the area emmerged as something other than an place where Hip Hop came in the form of Electro-Hop with acts liek the World Class Wreckin' Cru. It is a little ahead of itself, but works very well.
**Four Stars**
7. "Go Cut Creator Go"
On this one,, a single from the album, you have LL working on some guitar-led prodcution from the L.A. Posse, and LL does a shout-out to his then-DJ, Cut Creator, who does the scratches throughout the tune. It is a big one, but didn't do as well as a lot of his other singles around the time.
**Four Stars**
8. "The Breakthrough"
There are heavy beats in this one, and it is the thing which brings out all the energy in the tune as LL tears through what was given to him by flowing about his position in the Hip Hop world at the time of recording.
**Five Stars**
9. "I Need Love"
Despite being a highly siginicant track, in terms of the boundaries which it broke though as a rap ballad, where he states his desire to find love and truely experience it, it is a terrible track, and it typical of the time.
**Two Stars**
10. "Ahh, Let's Get Ill"
Surprisingly, up to this point, LL hadn't outlined what his name stood, for and in this one he fianlly gets the cahnce to, and also goes into detail about what other things peoepl may not know about him. You get West Coast-esque funky beats from L.A. Posse, and it is a nice way to lead the tune.
**Five Stars**
11. "The Do Wop"
In a far from predictable display, ll takes on a little Do-Wop in his production, and uses it for a gentle swing track where he raps in suitable manner to match the soft nature of such a tune. The breaks on this are incredible, mainly down to its large contrast to the production in the rest of the cut, but it does give it what is needed to kep it within the boundaries of a Hip Hop jam.
**Four Stars**
12. "On The Ill Tip" (Outro)
Although I have to say that i enjoyed this thoughroughly, and thought that it was an improvment on his historic debut, I thought that its similarity to "radio" was somethin whcihc held it back as it showed very littel progression despite a two-year gap between releases. Regardless of this, I was really into it as it has him go with the pure Old School Hip Hop sound, which matched the trends of the early-to-mid eighties in the Hip Hop game. The prodcution and rhymes work together amazingly well, and its this great chemistry which makes it so good of an album.
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Jan 22nd, 2009
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