Masta Ace first caught my attention many, many years ago with his first LP “Take A Look Around” which I never truly got into that much. It was his collaboration with The Brand New Heavies “Wake Me When I’m Dead” from “The Heavy Rhyme Experience Vol. 1” that gained my respect. Then, “Sittin’ On Chrome” came out and I tuned out again. Many years later, 2001, he comes with a “concept” solo LP called “Disposable Arts”. I was not expecting much from this LP at all but it was a very pleasant surprise. There are many dope tracks with great guests. There is a whole story line that goes throughout the album like “A Prince Among Thieves” by Prince Paul, “The Equinox” by Organized Konfusion or “Black Trash” by Sticky Fingaz. Here, Masta Ace does not go off topic at all nor does he need big name stars. He keeps pretty underground. The only popular guests he uses are Greg Nice and Rah Digga. MC Paul Barman has a nice little role too. Most of the production is done by underground producers and Ace himself. Masta Ace is back after a long time of silence in the industry. Bottom line, this is a very cool album that any and every hip-hop fan should check out.

The story (and LP) begins with a skit called “The Release” which is basically him getting out of prison. Since there are many skits, I will not review them. I also do not want to give the story away too much. Fear not, the skits do not drag the album down at all. They push the story along and are never too long.

 “Too Long” featuring Apocalypse was produced by Masta Ace. The vocal sample is repeated in the background “Y’all waited too long for this..” Masta Ace does not beat around the bush a tells it like it is with a song about how he is back and how long he has been away: “Yo, its been a long time just like sweet revenge / Never thought that I’d bee seen on these streets again / It’s been 5 years at least. / Waiting for a piece / Bouncing off these walls, awaiting my release./ Feel like a caged lion, with rage frying./ All those days trying to engage with the iron / Stuck in between a rock and a hard place / Got down on my knees and looked into God's face…” The beat is mid tempo and has a very mellow, semi-sinister melody. There’s no real chorus. Apocalypse kicks a rhyme but Masta Ace steals the song. At the beginning and end, the vocal sample is repeated. It’s a nice, short and to the point opener.

 “Black Episode” featuring Punch and Wordsworth was produced by Luis "Sabor" Tineo. The police sirens give it a nice effect of reality. The violins have a very depressing feel along with a nice, light guitar. It’s a great beat and Ace rides it with a natural ease: “Woke up this morning hearing shots beneath my project window./ The T.V.’s on, been playing all night, all Nintendo./ Jump out of bed trying to see what's up with all the noise and, I see somebody else caught a case of lead poisoning./ This type of sh*t around my way is a regular occurrence./ Because the same sh*t just happened to my n*gga Terrance./ A week later now, somebody else is laying dying./ Surrounded by a crowd of people and his mamma crying…” Ace paints a vivid picture of ghetto life that is universal. It’s the sad truth and Masta Ace uses it not only for a song but to push the story along. Obviously, the main character (himself) wants to get out of the ghetto. The whole thing is truly about a drive by shooting. I don't want to ruin the story though. Masta Ace hears the whole thing from the window. Punch is the man who does the actual shooting and Words, is the friend of one of the inocent bystanders who got shot.  The hook is chanted and supplements the vivid reality of ghetto life: “… Another body on the ground cold- and – Another day, another lost soul – And – Same sh*t in every zip code – No matter where you go – It’s just another black episode..” Punch handles the 2nd verse and paints another vivid picture with a story that involves guns and violence. Words does a decent job too.  This is a cool song that can stand strong without the story line but it does contribute to the overall story of the LP.

 The “IDA Commercial” is an important and funny skit which is a commercial for a “hip-hop college”. The white announcer is especially funny when he pronounces words and tells of career moves like “A&R B*tch N*gga” or “Shiesty Label Guy”. It’s definitely a skit that gets the story movies but also provides some amusement.

 “Don't Understand” features Greg Nice and was produced by Paul Nice with some dope scratches from DJ JS-1. This is the first single for the LP and it’s great. The vocal sample is scratched “…and I don’t understand…” a woman sings. Masta Ace kicks the track off with an energy and authority over the mic: “I don’t do white music./ I don’t do black music./ I make rap music, for hip-hop kids./ Y’all know what it is./ When I get biz with this./ Flows are hard enough, you can hit your kids with this./ thugs walk thru Queensbridge with this./ Italian kids drive thru Bay Ridge with this./ Pumping in their I-roc./ Your block to my block…” The loop is dope and hypnotic without ever sounding boring. Greg Nice gives a whole stronger energy to the hook as usual: “When you pump it in your B.M. – Pump it like this! – Pump it in your range – Pump it like this! – When you pump it in your Caddillac- Pump it like this! – Way out in Brooklyn, Pump it like this!…” This is the only song that does not actually go with the story line. It does not take away from the story line but it shows Ace’s love for hip-hop as well as his energy and persistence to succeed. This is a dope track! It all works.. the verses by Ace, the hook by Nice and the scratching by the DJ. The production, especially is well done along with the other vocal samples. Greg Nice does some ad-libs too that brings even more energy to the track.

 “Good bye Lisa” is a skit that has Ace and Jane Doe. This basically sets up the story about Ace going to the hip-hop college and Lisa’s involvement with illegal activity. It also shows how some people view college.

 “Hold U” featuring ‘Jean Grae’ was produced by Ayatollah. This is another dope track that uses a vocal sample extremely well and in a very creative way. The beat is mellow and sexy with a jazzy vibe to it. The brushes on the drums add a nice effect but the real thumping beat comes in. “…It’s the way I hold you…” is the female vocal sample that is repeated in the background. Ace is a great storyteller and works his magic on this track: “…I will never forget the day we first met./ I wasn’t even feeling you then, but worst yet./ I was all up in the mix with one of your friends./ When you seen us, you would always give me one of your grins./ If I only knew what I was missing./ I would quit kissing on this chick and change my position…” As the story goes on, Ace displays that he a talented story-telling emcee. He rides the beat perfectly and uses the vocal sample (“…It’s the way I hold you…”) for the hook along with his chanted hook: “..It’s the way I hold you that feels so good – I don’t ever want to let you go – Can’t see you with nobody else – I just really had to let you know – It’s the way I hole you, It’s the way I hold you…” Ayatollah uses the other vocal samples perfectly to add an emotional and sexy feel to the track. There’s even a dope bridge which uses a different vocal sample that sings “Make it easy on yourself…” The last verse by ‘Jean Grae’ adds another dimension to the track from the female's point of view. It’s not annoying at all and complements Ace's verses. This is a sexy and romantic hip-hop song that is not sappy or too commercial sounding at all… Very dope!

 “Every Other Day” features background vocals by Mr. Lee Gee & Sas and was produced by Xplicit. This beat is dope. It’s very uptempo and has a light guitar riff in it. The hook is handled with a strong reggae influence by the background vocals: “…If you want to be a winner – the streets get cold, everybody turn sinner… you see, every other day see the signs of the times – No, muthaf*cka, you not gone take mine! Every other day we see the fakest lies – Red eyes on the prize!…” There’s a great energy and flow to both the hook and Ace’s verses. It all comes together very well and makes this one of the better songs on the album that may get overlooked. Ace kicks a great verse: “…Welcome everybody to the rap crucifixion / Every other day it’s like a brand new conviction / Another n*gga down because he just didn’t listen / With the same mission / Trying to get out this position / Listen! / It doesn’t matter if you Muslim or Christian / Everybody need a little food in their kitchen / Hindus and Jews, they all feel the tension / And any other race or religion I didn’t mention…” This song can stand alone without the story line. The reggae-hook is not only energetic but very rugged and rough. Masta Ace does take the song. His verses and his delivery are finely tuned. This is a dope track!

 “Roomates Meet” is a little skit featuring MC Paul Barman. I do not want to ruin it for you but it’s funny… the clashing of cultures can be a humorous thing.

 “Take A Walk” features Apocalypse and was produced by Gerrard C. Baker. This is my personal favorite. I think it’s the best song on the album. There is a perfect balance between the punchy yet mellow beat and clever observations in the rhymes along with the sentiments and themes of the song. It’s not only about the ghetto or living in “the hood” but how the ghetto is universal. Poverty is a universal concept. Wherever there is a rich section of town, there is sure to be the poor section of town. This song is strategically placed right after the culture clash of Ace meeting his white (probably upper-class) roommate. This mid tempo track slowly bounces along with a wonderful vocal sample and a great bass line. Masta Ace kicks the song off: “…Let’s take a walk to the deepest part of the hood / I want to know who it was who said it was all good / He must have never been to the corner, or spent a half-hour or longer / Where you can smell reality stronger / Where they sell you grease in a box and hope that you die quicker / And if you're old enough to walk to the store, you can buy liquor / Where you can find a dice game at any time of the night / Somebody gets shot or stabbed, every time there's a fight / Where cats die in the blue sky and the sunlight / And you're bound to get clowned for not holding your gun right / The little kids with great game cuz they learn to take aim / At young age and allude police with a fake name / He’s telling em ‘ ‘I’m Bobby Jackson from 3-B!’ when the fact is, he’s really Rashan from 4-D / Hey, this is going out to your hood straight from mine / Let’s take a walk in blue skies and sunshine…” The vocal sample is used in the hook but Ace talks lightly in the background repeating it. Here, although the vocal sample is perfect, Ace still has a part in the hook. The vocal sample is sung: “…Blue skies! Sunshine! What a day to take a walk. Blue skies! Sunshine! What a day to take a walk …”  Apocalype has a short verse that is just perfect. In the middle of the song, his verse is all about hustling and the struggle. It’s not too long or too short. His gruff and scratchy voice adds the ghetto reality to the track. Still, Masta Ace steals the song. The odd irony of a happy sung vocal sample and the verses of poverty is similar to the irony in Jay-Z’s “Hard Knock Life”. It’s a beautiful thing. This is actually much better than “Hard Knock Life” and in my opinion, the best song on the album.

 “Something's Wrong”, featuring Strick and Young Zee from The Outzidaz, and was produced by Koolade. This song starts with a cool guitar. Strick kicks things off very well. As soon as he raps, the beat comes in. “Last night, I had a nightmare that I was wack / Nope! / I’m sorry, it was that you said something dope/ F*ck it! / It don’t matter because I know sh*t ain’t really like that / Because if you said something dope, I know that somebody else had to of write that…” Strick handles himself well on the mic. This is truly the first time I heard him where he made an impression. He continues along with some very clever and funny lines like “You the opposite of smart feces / get it? / Dumbsh*t!” The guitar glides along with a somewhat light Spanish influence/vibe. The drums of the beat are cool because they raw enough to for die hard hip-hop fans but simple enough to engage a potent reaction. Young Zee from The Outsidaz handles the hook. Funny as ever, his voice alone makes people crack a smile. Zee sings the hook with authority: “If y’all don’t know how we getz it on – From 12 midnight to the crack of dawn – Got girls in the back taking off their thongs – Can’t feel it? Then, something's wrong!…” Masta Ace and Young Zee also contribute very dope verses. Each emcee holds their own and it’s very hard to say which one did better. They all did an excellent job. Young Zee handles the last verse: “N*ggas fear me like the fear of A.I.D.S. / I take out pretty boys wearing shades / To thug n*ggas with their hair in braids / Then, f*ck your girl through that thing she wearing / Get her pregnant to leave that b*tch a single parent / Got mad cars, you probably ain’t been in a Jaguar / Drunk at Justin’s while you hang out in a fag bar / Scared of jail but at home, you tried to ride / When you got inside, you got sodomized by a lot of guys…”   This is a very dope track. It’s definitely one of the best tracks on the album and it should never be skipped… DOPE!

 “The Classes” is another skit. MC Paul Barman goes over Ace’s schedule for the hip-hop college he’s going to. It’s a clever skit and one that can be appreciated by not only hip-hop heads but anyone who went to college.

 “Acknowledge” was produced by Xplicit and has some very dope scratching from DJ JS-1. This was an early single and a very severe diss towards The High &  Mighty. I heard that the beef is all squashed now but this is fierce. On his first verse, Ace holds nothing back: “….I hear these cats, but I ain't listening / A little faint dissing, a little scratch, a little paint missin' /But I still gleam and glisten, hot like a stream of piss 'n / I'm about to have ya whole team wishing / That you never got this shit started / You about to be dearly departed, you gotta be nearly retarded /To let me hear my name mention, try'na gain attention / Now I'm runnin' through this game lynchin' / And I heard a few cats tryna take shots on the low / These extra-felt rappers tryna fuck with a real pro/ One thing; who named y'all the High and the Mighty? /To me, ya'll just sound like a couple of High Whities / You had to be on mad coke and XTC, /To think for a second, you can stand next to me / Look, don't ever again mention my name in ya freestyles / Or I cut off ya transmission faster than Lee Miles / And I heard ya album, this must be something you're new at /  'Cause I rather hear a Little Wayne-Little Zane duet / My cellphone stay ringin', like a slap in the air / So I hope y'all don't plan to make a rappercareer / 'Cause ever since Head was infernin' I been burnin' / Next year, y'all be up in Rawkus, interning / And I shoulda let you known what your governement names are /To make shore you 'Take It Personal'  like Gang Starr, motherf*ckers…..”  It’s a dope track with an even dope beat. The loop is hypnotic. The violins dig into your brain and the beat thumps hard like thos early 90’s tracks. The hook is all scratched and acts like cherry of a dope hip-hop cake: “.."I got one lyric, pointed at your head for start Another one, is pointed at your weak ass heart" from Guru "Pay homage, respect" from Nas "Acknowledge the rep" from Nas. Then, "Another fake jack I slay with my spectac' rap display" -> Guru. "Pay homage, respect" -> Nas .. "Acknowledge the rep" -> Nas. Ace talks through the hook too. The 2nd verse is just as fierce and angry and he adds The Boogie man and even Fat Beats to the list: “I heard of the Boogiemann when I was a youth, scary / And I found out that he was as fake as a tooth-fairy / Since my last mission this nigga's been ass-kissing / I took a minute, I gave your single a fast listen / Tell me this, no pot to piss in? How you dissin' / You group holmes are about to report that you missing / And I don't know who was worse, the track or the verse / I'ma get to your producer, but I'm smacking you first /See I couldn't even find one nigga that heard of you / I did find a few cats that wanted to murder you / But I told 'em "Chill", I let 'em know you was my son /  And I promise I can pay support to you twenty-one / Consider me the clothes on your back and a warm meal / Who knows, this might just get you a deal / And the day that your album go on sale for the first hour / Just remember like Nas nigga, ‘I Gave You Power’/ I figured out he some help, 'cause you need lots / I make your producer change his name to Speed Nottz / Tell him I say "Fuck him!" for doing the tracks / Matter of fact, fuck Fat Beats, for doing the wax / I'ma diss you via e-mail and dental effects / I'ma diss you by two-way, I ain't gon' never relax / I'ma diss you over fast, slow track or no track / If your shit wasn't so wack, I dissed you to yo' track / You that little fish that I catch and I throw back / And by the way, give 50 Cent his flow back / You that cat in the club that get hit with a bottle / Fuckin' with me? You better of trying to hit lotto / And don't answer back, this is hard shit to follow / And you can't spit nigga, so you obviously must swollow, motherf*cker.. .” Even though the beef is supposedly all over, this track is incredible. It’s a perfect hardcore hip-hop song. Everything works from the beat to the lyrics to the scratching. It could not get any better. This track is also one of the best on the album… DOPE!

 “Enuff” was produced by Rodney Hunter and is the most commercial sounding track at first listen. After more intense listens, the gravity and intensity of the track increases. The piano leads the whole song and the beat truly kicks. Like many songs that have every line ending with the same word, Ace does this one like that but with his own twist: “Nowadays, A range ain’t big enough / Moschino ain’t jig enough / I’m kind of iced out but my chain ain’t thick enough / Album ain’t hot enough / Label says it’s not enough / Singing in the hook, I need to change my look…” This is a very cool track and Masta Ace adds creativity with his very honest rhymes about himself. He even has a sung hook which is very off-putting at first but it does work: “Somebody, tell me what the deal is- (Ace: “I had enough!”) – N*ggas need to know it’s for real – oh, yeah! Somebody, tell me what the deal is- (Ace: “I had enough!”) – N*ggas need to know it’s for real..” The sung hook gives the track a nice variety and works well with the piano sample. In the 2nd verse, Ace even says a little line about Ghostface Killah that is open to interpretation. Ace rhymes, “…N*ggas only rocking them jewels for you to see / Like Ghostface? N*gga don’t front for me / Enough is enough / We gone start calling your bluff / Watching your moves / We gone be all in your stuff..” Ace switches up the style where he ends every line with the word “enough” and changes it to just using the word “enough” somewhere in the line. This is good because it creates variety to the track and makes it very interesting to listen to. It’s a clever track that is executed very well.

 “Unfriendly Game” featuring Strick was produced by Luis "Sabor" Tineo. Here, the game of football is used as metaphor world of hustling in the ghetto. The piano and the guitar gives this track a very nice atmosphere which is somewhat sinister. Ace kicks the track off: “I’m about to take this beat / And teach you about the agony of defeat / In this football game in the street / And no, it ain’t two hand touch, it’s rough tackle / Where n*ggas ball on your block and bust at you / the field is full of players and they’re all trying to score / The team sits on the bench in the downpour / Cuz no matter the weather, the game don’t stop / Competing with other teams with rain on top / Your offense has to be cats with no conscience / No nonsense n*ggas with no options / that know how to carry that rock / Make that handoff and run off the block…” Ace and Stick both deliver very clever verses. They stick to the theme without a problem and the song goes along with the story. (I don’t want to give the story away but the unmentioned skit before it is there as proper foreshadowing.) The hook is chanted and chanted well: “The game don’t stop – Cats keep playing – Some got hit hard and wound up laying – Out in the field, but the fans keep paying – Understand what I’m saying? It’s just an unfriendly game..” Damn, this is a cool track that not only displays Ace’s lyrical ability but his ability to stick to themes and his ability to execute clever metaphors without sounding pretentious or trying to hard. This is another dope track.

 “Alphabet Soup” was produced by Domingo. The loop here is dope. It’s hypnotic. The strings just have a great ‘hip-hop classic’ feel and meld well together with the beat. Domingo (who also did some dope production for KRS-One in the past) truly gives Ace a surefire banger here. Ace brings clever rhymes to the table again. He uses the letters of the alphabet to get through his rhymes: “A, son, how you ‘B’? / And I ‘C’ you ‘D’ to go out and make a killing / but where ‘E’?”  (other mc: ‘F dat n*gga, he making g’s with H-town doing shows over C’s’).. Ace: “Yeah, I heard he D.J. but stop hating O.K.?…” Basically, the whole song is a conversation about getting money. This is a track that truly make the plot of the whole CD move along. I don’t want to go into too much because it will ruin the story and the outcomes. It’s short and sweet and moves the story along.. It’s a dope, little track.

 “Dear Yvette”, featuring Jane Doe and background vocals by Jessica,  was produced by DJ Rob. The beat starts off with an old school vibe too it but soon becomes very modern with the guitars and other keyboards. Ace kicks the song off about talking to a girl who is living life way too fast for her own good: “Yo, Yvette! There’s lot of rumors going around / about you ho’ing around / You need to slow down / Ever since your ass grew, you’ve been moving kind of fast, boo / Don’t even speak now, when I pass you…”  This has been done before but Masta Ace truly gives it a unique spin. Jessica handles the sung hook: “You don’t really know me – Just what you think you see – Just what you think you see – You don’t have to worry about me, this chick’s got hopes and dreams – But I’m about this paper cuz there ain’t no love for free..” This song would be so much better if it weren't for the lame hook. It does stick to the theme and is an important part of the story line but it just does not sound good. It does not sound too original at all especially compared to the previous clever tracks. Jane Doe does kick a very tight verse. It’s the hook that's lame though.

 “I Like Dat”, featuring Punch & Words, was produced by 3D. This is a song dedicated to sexy and getting… nasty! They get to the point. Punch and Words do not hold back at all and neither does Ace. Ace rhymes: “…Ladies in the place, all I need is a second / A small conversation before we both neck-ed / And if you come back to the hotel, I won’t go tell / I promise / I like to swing my bat like Frank Thomas…” Of course, the degradation of women comes into the track with the word ‘hoe’ used but not as much as the typical sex rap track. The hook uses a call-repsonse technique where all three mcs do a line. It is also altered a bit for each time it’s repeated. The first one goes like this: “Waterbeds, hot tubs – Yeah, I like that! – Hot sex on a platter – Yeah I like that! – Slow tracks, candlewax – Yeah, I like that! Anywhere, don’t matter – Yeah, I like that! – Eh, you! You like that? You know I like that!..” Also during the hook, “ Yeah I like that!” from some old soul song is scratched in the background. This is cool track… not one of the best but it’s good for a couple of grins. Punch and Words do a good job but Masta Ace kind of steals the show with his more laid-back and less forward demeanor. He doesn't get too graphic and that shows that he's an experienced emcee.

 “P.T.A.”, featuring King T and J-Ro of The Liqwit Crew, was produced by Deacon da Villian. The electronic bass line is spooky and futuristic sounding at the same time. Ace kicks the track off: “I want my name on a big banner / Word to my Nanna / A red bone in Atlanta / One in Savannah / I tell them both to get tanner / You’re too white like Vanna / And sit em on my lap like Santa…” Ace continues to rap about things he wants. This song reminds me of a slower version of Sticky Fingaz “What I What”. Ace even has plenty of punch lines “F*ck platinum! I want to go Uranium!” King T kicks a typical verse but Ace steals the show. J-Ro does give Ace challenge though. The beat is slow and just trudges along with an odd grace as the futuristic and spooky electric bass line glides. The hook is lightly sung (and partly chanted): “I just love that whip appeal – Especially all that sh*t you feel – I’m not gonna lie, I’m a tell you the deal – I want trains, planes, and automobiles – If you don’t know what I mean – Jump inside, so fresh and so clean – I’m a let you n*ggas know how I feel, I want trains, planes and automobiles....” J-Ro kicks a funny verse but Masta Ace’s verse is the one that’s most to the point and the one most easily understood. This is a cool track that is not mind-blowing but too cool to be considered filler.

 “Type I Hate”, featuring Rah Digga and Leschea, was produced by Domingo. This is basically a track where the title says it all. It’s about people who are snakes, fakes and schemers. Ace kicks the track off: “I hate a n*gga all up in your business / Trying to find out all he can find out about you / Yo, what is this? Damn, n*gga! Do you work for The Source? / Because you wack like you taking the place of Wendy Williams…” The beat has a murky and hypnotic quality to it along with light keyboard vibes in the background. It is also filled light keyboard melodies. Leschea handles the sung hook: “You see, some muthaf*ckas got nothing to do but sit around and talk about you – Never seem to get the sh*t straight – These are the types of n*ggas we hate – They smile in your face – You think they’re your friends – They flip and they never be the same again – Come around here acting all fake – these are the types of n*ggas we hate…” Here, is a place where the sung hook works.  There is a truly sinister and sad feel to the track which goes along perfectly with the sentiments of the song. Rah Digga brings energy to the already angry track: “…I hate b*tches who be fronting thinking they got your back but when the jump off crack, you see it’s not like that / Certain chicks put the ‘s’ in snake / try to give a b*tch a break, trying to test your weight / Let them stay in your crib, even take your whip / Might even baby-sit while they’re playing the strip / The chick want to smile up and call you ‘sis’ / Can’t even bring your man around short / Tisk’Tisk’!..”  Digga is perfect on the joint but does not take anything away from Ace. Here, the sung hook works but does not make this one of the most memorable tracks on the album.

 “Dear Diary” was produced by Domino and is one of the best tracks on the album. Here, an odd and obscure vocal sample is used in the hook. It works extremely well and gives the track not only a spooky vibe but a classic feel: “Dear diary – What a day it’s been – Dear diary – It’s been just like a dream – Woke up too late – Wasn’t where I should have been – For goodness sake, what’s happening to me?...” Masta Ace actually disses himself on this track! This song is like his negative side talking to himself and making him feel like he cannot come back into the hip-hop world after just a long time. “Eh, yo Ace! Don’t tell me you thinking about a return / I’m kind of concerned / When will you old cats ever learn? / It’s time to hang it up when you’re standing on your last leg / When you don’t write in the red and your future is past dead / I’m a tell you cuz none of these cats will / You can’t still try to rely on your rap skill / You ain’t got nothing behind you and believe me / Not a label gone want to find you and want to sign you / Write your rhymes in the shower, you’re washed up! / If there was a law against wack sh*t, you’d be locked up…” Damn, this is a great track. Ace goes on an even calls out names about his old group and label: “…Half of your old group don’t like you and want to fight you / They even made songs about you to try and spite you / Big Beat dropped you and said that you can’t sell / And they ain’t had a hit since Tupac was in jail….” This is an incredible track that is both honest and creative. Where most rappers boast themselves, Ace rips himself apart. It's a brutal and also very funny self-inflicted diss. The vocal sample works perfectly with Domingo’s beat. There’s even a very cool sounding flute and light guitar strings. There’s the perfect balance of creativity, vocal sample, delivery and beats!

 “Last Rights” is a nice skit where Mc Paul Barman sums up what happened to Masta Ace.  I will not give it away but it’s nice to hear one of these concept story LPs with a positive ending.

 “No Regrets” was also produced by Domingo.  This is a perfect track to end the LP. The flute glides along with a wonderful grace and the beat has this driving pounding rhythm. Ace is the one who truly takes the cut though. “If I never recorded another song / If I was wrong / and nothing I spitted was ever strong / If I never perform at another venue / If this genuine love doesn’t continue / If none of my records were ever sold / If I fold or never see platinum or even gold …” Masta Ace does not have any regrets in his life or hip-hop career. He continues, “I wouldn’t want your pity or your sympathy / Even if Marly never put me on the ‘Symphony’ / but I got to admit it, I’m glad he did it / It’s considered the first verse that I spitted…” Ace truly loves life and hip-hop and it shows in his work. With shoutouts to Guru, Q-tip, Gangstarr, The Pharcyde and more, Ace truly creates a dope final track for not only his album but his life. This song is basically just one dope verse. There’s no hook but all through it, Ace whispers “No Regrets”. It’s very well done and a perfect way to end off the album. 

This is an underground LP and it has mainly underground BEATS and  PRODUCTION. The beats vary from decent to extremely dope. There aren't any wack beats on the album but some are better than others. "Take A Walk" , "Don't Understand", "Every Other Day", and "Acknowledge" hit hard at the first listen. "Take A Walk" and "Don't Understand" (featuring Greg Nice) especially hit hard and move you instantly. There is a nice variety with the beats too. The somewhat weaker "Dear Yvette"  begins with an old school vibe but transforms into a modern love song. While most of the song do not hit the listener instantly, a majority of the tracks demand respect.  The PRODUCTION is very well done especially since the use of vocal samples are very astute. "Don't Understand", "Take A Walk", "Dear Diary", and "Hold U" have these incredible vocal samples that are both odd, obscure and very cool at the same time. Also, they fit with the theme and sentiments of the song. Domingo truly shines handling most of the production and beats for the last couple of tracks. Gerrard C. Baker did excellent production on the beat and vocal sample use on "Take A Walk". Paul Nice also did excellent production on the beat and vocal sample on "Don't Understand". I cannot continue saying positive things about the production of this LP without mentioning DJ JS-1. He did the mind-blowing scratching and DJ work on "Don't Understand" and the incredible "Acknowledge." The scratches on "Acknowledge" are so dope. Some may mistake them for Premier. (The beat is not Premier sounding but the scratching is very professional.) It's so nice to hear dope scratching on a hip-hop record. This LP is filled with it and the scratches are all placed in the right places and used inn the proper way. These are beats that grow on you. While some hit you instantly, most take a couple of listens to fully appreciate the thick structures of production, rhythm and scratching that were involved. It's underground sounding enough to keep hardcore hip-hop fans happy while it has the possibility for some commercial appeal. I doubt that this album will blow up and become huge. The beats and production alone are very creative and well executed.

Masta Ace is a very talented lyricist with many ideas. The LYRICS on this LP are top-notch. They maintain a street credibility while being creative at the same time. That delicate balance is made. He also sticks to themes without problems. Lyrically, his best performances are on "Take A Walk" , "Unfriendly Game", "Enuff", "Alphabet Soup" and the very angry "Acknowledge". He is filled with punch lines, similes, and metaphors.  Where a song like "Enuff" could have been dismissed as another "repeat the word at the end of each line" song, Ace flips it and surprises us. He doesn't use the word at the end of each line like in the first verse. He continues to use the word in each line but in various places. Masta Ace is great with his word play. I would not say that he outshines all of the guests but he does not get outshines either. He hold his own and holds it strong. "Something's Wrong" with Young Zee and Strick is a perfect example. All 3 emcees do an excellent job on the mic. They each contribute dope verses. Ace does outshine some guests. On "Take A Walk", Apocalypse contributes a great fitting verse to the song but Ace outshines him with ease. "P.T.A." is another example. Ace outshines King T. Still, for most of the album, Ace and the other guests maintain a balance of dopeness that many other LPs cannot maintain.  I always thought he was talented but this LP truly showed me that he's a clever emcee who is very astute with lyrics and performance.

This is a very ORIGINAL and CREATIVE LP. It's original and creative in many ways. Not only as a whole, the album and the concept is original and creative, every song has something original and creative about it. First, the LP is a concept lp where a story is told throughout the whole album. Every song contributes to the story line and it does not go off topic too much, Also, there aren't too many times where a song was made and became filler just to keep on topic. "Alphabet Soup" is a perfect example. Here, the story line needed to continue but Ace used this short song to flex his lyrical skill by using the letters of the alphabet in a verse about hustling, robbing and getting money. Other well done concept / storytelling LPs like "A Prince Among Thieves" by Prince Paul, "Deltron 3030" by Deltron 3030, or "Black Trash" by Sticky Fingaz have all been executed well. "Disposable Arts" by Masta Ace is no exception. This one is just as dope and even has a very positive ending.  The use of vocal samples are also very creative. While people like Jay-Z and Busta Rhymes have used somewhat obvious samples from Broadway plays, Ace and his producers used much more obscure samples that go along with the song and create the proper atmosphere. "Take A Walk" is a perfect example. I have never heard this sample used before or it part of the original form. Ace and the producer (Gerrard C. Baker ) is very creative while maintaining a ghetto hip-hop style. "Dear Diary" is another example of originality and creativity with vocal samples. Here, the sample is not only odd but very obscure. I have never heard it before. Also, Ace uses this song to diss himself. It is very rare in the hip-hop world where an MC disses himself. Here, he rips himself apart. Even "Acknowledge", the diss track towards Boogieman and The High & Mighty, is creative as a diss track. Still, for the most part, Ace is not too out there where fans are abandoned. All of the songs fit into the hip-hop vibe and none are too out there.  The use of guests is also creative. While most LPs are littered with "who is hot this week", Ace uses mainly underground and unknown emcees. He relies on talent and not their record sales. Sure, Greg Nice, J-Ro, and Rah Digga have parts but they aren't extremely popular. Young Zee makes dope appearance too. It is nice to hear Words, Punch, Jane Doe and the very talented Stick on tracks too. This LP is very original and creative. It truly took my by surprise. I was expecting another run of the mill failed comeback LP but I got a well executed narrative LP that is filled with just as much creativity and originality as an early De La Soul album. There's something very noble about Masta Ace and this album. Instead of switching up his style after all these years to make a comeback album that will fit in with the trends, Ace uses his skills and delivers an album filled with his own unique style that is saturated with his own creativity and originality. This may not shoot him into constant radio airplay but it will definitely earn him respect from true hip-hop fans. After all this time, his skills can hold up today and stand strong.

The ALBUM FLOW is fast moving because of the story that plays throughout the entire LP. There are a couple of story lines. There's Masta Ace in the hip-hop college as well a woman and her drama with an ex-boyfriend. Sometimes the story strays but it always comes back. It's also not too complicated. It keeps things very simple. You can stop listening to it halfway and come back to it days later without missing anything. The variety in both the production and the themes keep the album flowing with an ease. "P.T.A." featuring King T and J-Ro is an obvious nod to the West Coast hip-hop world without leaving behind the East Coast fan base. There's alot to this album and that makes the replay value quite high. Everything from Ace's performance to the guests to the beats contribute in making this lp very easy to listen to in one sitting.

This is a HARDCORE Hip-hop LP but not in a traditional sense. Sure, there's talk of drug dealing, guns, violence, and sex but it's done in a very creative way.  Sex is displayed 2 ways on "Disposable Arts". The song "Hold U" is sensitive and somewhat charming while "I Like That" with Punch and Words is flat out nasty and filled with explicit details. Instead of simple songs about drug dealing and hustling, Ace made "Unfriendly Game"  and equates the hard ghetto lifestyle of hustling and selling drugs to a football game. While "Take A Walk" is dedicated to ghetto living, these songs are not anthems for ghetto life. Some may be turned off by this creativity if they are use to direct tracks of violence and drug dealing. But, ACE is a breath of fresh air to me. Masta Ace is not only hard-core in his topics but in his expression. "Acknowledge" is the perfect example of hard-core expression. This is a severe diss track that shows no mercy. This is hard-core hip-hop and even the somewhat commercial sounding tracks with R&B hooks like "Dear Yvette" have a hard-core lyrical vibe to it. Although not every song hits hard on a hard-core level, none are very commercial at all with the exception of "Dear Yvette" (and that truly adds to the story line so it is needed in the album). Masta Ace has created a very dope underground album that is filled with all the things that makes hard-core hip-hop dope but also has enough creativity and intelligence to have a 'backpacker' audience. Masta Ace is a hard-core hip-hop emcee and has made an album to fit that style.

"Disposable Arts" is a very, very good album. With the exception of some minor R&B hooks, the album is filled with well executed ideas, clever lyrics, nice guest collabos, incredible scratching, and just dope emceeing. Compared to other concept albums ("A Prince Among Thieves", "Black Trash"), Masta Ace can stand strong. Compared to the average hip-hop album, Masta Ace definitely brings something new to the table even though he's considered an old school cat. He's back and he's going to surprise many people. Don't dismiss him from his "Sitting On Chrome" days. Here, there's something for everybody. There's "I Like That" for the sex kittens. There's "Unfriendly Game" for the hustlers and sports fanatics. There's "Acknowledge" and "Alphabet Soup" for the backpackers and underground hip-hop heads. "P.T.A." has a West Coast feel to it with collabos by King T and J-Ro. Even the upbeat party cuts like "Don't Understand" with Greg Nice or "Something's Wrong" with Young Zee has a strong credibility. There's even more surreal and abstract joints like the self-dissing "Dear Diary" or "Take A Walk" about the weird, sad, violent yet somewhat beautiful world of the ghetto. The scratching is something that I love about this album. It's filled with it in all the right places but it's never overdone. The vocal samples too. They are used with intelligence and never in the wrong place. With the exception of "Dear Yvette", the album can be considered a modern hip-hop classic. Sure, some songs are better than others but each one contributes something to the album. Each song either moves the story along or serves some kind of purpose. It's been many years and no one has to "wake him when he's dead". Masta Ace is not dead! He's alive and kicking and made one hell of a comeback LP. I must say that it's the best 'comeback' LP I ever heard from an old school hip-hop emcee who has been away for many years. It's better than Rakim's solo LPs or EPMD's comeback albums. In these times, Hip-hop is a disposable art form but Thank God, Masta Ace is not disposable. The hip-hop world needs emcees like Masta Ace and LPs like "Disposable Arts" more than ever.

Beats: 8.5/10.
Production: 8.5/10.
Lyrics: 9.5/10.
Creativity/Originality: 9.25/10.
Album Flow: 9/10.
Hard-core Rating: 8.5/10.
[ Overall Rating: 9 / 10 ]