2. “Shine All Day” (feat. Q-Tip, Jumz and Kel Spencer)

To show exactly how far the genre has come (30 years since its first mainstream hits, “Rapper’s Delight” and “King Tim III”, you are shown that it is now global as you have the flows rapped out by names from France, Spain and Japan, to display the lengths it has gone, and the results of this. They all speak in their native tongues, and you can tell that what they spit is fire, just from the energy it gives off.

4. “Here Comes My DJ” (feat. DJ Kool and DJ Demo)

Here you find Flash performing a collaboration with another legend to the Hip Hop game as DJ Scratch (formerly of EPMD) does the beats with him, and form this you find Bust Rhymes just on a buzz of the fact that he has been given the opportunity to be the sole vocal perform on top of what are some great beats from the pair. His flows have him both bring in a little Old School flava as he does something which his fans today would get too.

6. “Swagger” (feat. Lynda Carter, Snoop Dogg and Red Café)

This is the most powerful tune on the whole album, and any true Hip Hop fans would really be touched by it as you have KRS-One (who else?) to perform a track which speaks of a world which would have existed had Hip Hop never been ‘born’ in the early seventies. The beats aren’t that impressive, but the thought-provoking lyrics meant that you don’t rally dwell on this.

This is an obvious choice of a dedication on the album, and I felt as though it was done farily well as you have him going for the obvious and dropping some breakbeats on the thing to accompany MC Supernatural, who rhymes about all the moves he would typically see in a B-Boy battle,. I liked the way he worked it up from simple Top Rocking, down to the footwork, before dropping power moves such as the 1990 to end it.

This is the first of two appearances from Big Daddy Kane on the album, and in this case you find him being used in his “Smooth Operator” mode, as you have him rapping on some beats which apparently take elements of The Mary Jane Girl’s “All Night Long”, but it sounds like an amatearus remake of it, and it puts you off as you hear Kane flow.

Although I’m sure that the chipmunked voices heard in the hook are bound to put certain people off the tune, I felt as though the track in general was well-done and it came across as something which really stood out on the album as it has heavy beats and it gets him doing something no-themed and capable of going absolutely anywhere. The odd throwback lines remind you where you are, and put it in its place.

14. “Can I Take You Higher” (feat. Mr. Cheeks, Tito and Grandmaster Caz)

**Two Stars**

As you get towards the end of the thing you begin to lose hope in it, and the robotic voices which you hear at the start of it seems to justify my doubts towards it as it really sounds forced. From here Almighty Thor takes over and speaks of Flash’s legacy, but by this point in the album it has all just been heard before and it does little on what are some fair beats.

**Two Stars**

I have to say that my expectations for this were high, and hardly any of it was lived up to with only a few of the tracks on it really doing anything. You have hints of the past in it, but Flash concentrates on advancing it all, but it really isn’t of a high enough quality for it to be really felt by any modern listeners. I expect that only fans of his old music will care to try this, and it should stay this way as there isn’t really anything for the younger listeners.