Hi-Tek Albums (3)
What The Critics Say
The title of Hi-Tek's third solo album hardly differs from that of his first or second (Hi-Teknology and Hi-Teknology 2, respectively), and for the most part, Hi-Teknology 3 follows a similar musical path. As with the other records, the producer is given a lot of space to show his versatility, making beats that work under both hardcore and conscious MCs, as well as neo-soul and R&B singers, tailoring his music to fit each artist appropriately. The problem, however, is that the guests he aligns to fill his vocal spots aren't that impressive, and make the album seem more like the work of a lesser producer who can't quite convince the big-time MCs he's worth their time than one of hip-hop's more gifted beatmakers. While the generally tight duo of Ghostface and Raekwon put up acceptable verses on "My Piano" (which, ironically enough, is guitar-based), Little Brother hardly gets any space on the Dion- (a singer also featured prominently on Volume 2) heavy "Step Ya Game Up Remix," and unknown rappers Rem Dog and Push Montana spit pretty basic, uninspiring rhymes that weaken the quality of the music underneath. Hi-Tek himself has some misses as well, like the very "Oh I Think They Like Me"-esque "Handling My Business" (whose hook actually contains the line "I think they hate me"), "Ohio All Stars," which tries much too hard to sound tough -- although, to give Tek some credit, he never completely falls into cheap mixtape synth clichés -- or "Know Me," an R&B track sung by someone named Jonell that drags on painfully, which can probably partially be blamed on the fact that Floetry's Marsha Ambrosius is a co-writer. In his attempts to display everything he can do, he loses the subtle touches that define his work, and so it is of no surprise the track that features longtime collaborator Talib Kweli, "Time," features the best beats on Hi-Teknology 3, and finds him sounding the most comfortable. It's not that Tek can't or shouldn't branch out -- because he absolutely should -- but that he has the reputation and talent to be more discerning in his MC choices, and needs to employ this benefit in order to keep himself relevant. ~ Marisa Brown, All Music Guide
What The Critics Say
Though he's produced tracks for artists like Snoop Dogg, Blackalicious, G-Unit, Boot Camp Clik, 50 Cent, and Xzibit, not to mention his work in Reflection Eternal and with Black Star, Hi-Tek has probably never gotten the attention he fully deserves, at least outside the rap community. As a way to show off and express his talents, Tekzilla released his solo debut, Hi-Teknology, in 2001, and after moving around from label to label, the follow-up, Hi-Teknology 2, came out in 2006 on Babygrande. Like on his first record, Hi-Tek produces the entire record (the lone exception being "Think I Got a Beat," performed by his son, Lil' Tone, who rhymes, "And I know how to dance/And Snoop Dogg do too/And my daddy do too") and lends his voice on just a few songs, including "Can We Go Back," "The Clip," and the star-studded "Music for Life." For the rest of the rhymes, Tek manages to gather a pretty impressive lineup, getting verses from Talib Kweli, Q-Tip, Bun B, Busta Rhymes, Ghostface Killah, Nas, and the Game. More than anything else, this selection and his ability to work with all the MCs just show how versatile he is as a producer, easily moving from the organic Earth, Wind & Fire-sampled "Can We Go Back," to the sparse, aggressive rhythm of "March," to the slow-jammy "Baby We Can Do It," to the guitar-based "Josephine," a partially misogynistic, partially motivational, partially societally critical song that features the musical talents of his father's group, the Willie Cottrell Band. While Tek's beats aren't always extraordinary, they're always respectable, and they fit each track well, generally simple and melodically focused with muffled drums and cleanly layered keyboard riffs. He's pretty good at what he does -- and sometimes, like in "Where It Started (NY)" and "Can We Go Back," closer to great -- and perhaps more importantly, he's consistent. Hi-Teknology 2 does a nice job of presenting his abilities (much more so as a producer than a rapper, though he manages to hold his own: "I single-handedly carried the 'Natti on my back/And I ain't even that big," he brags, perhaps justifiably, on "The Chip"), though if it will be the introduction to mainstream music he's wanted, it's still uncertain. ~ Marisa Brown, All Music Guide
What The Critics Say
Since breaking in quietly with fellow Cincinnati residents Mood in the mid-'90s, DJ Hi-Tek's climb up the crate-digging ranks has been a slow one. While Hi-Tek garnished some well-overdue exposure for his work on Black Star's debut, and with running mate Talib Kweli on their critically acclaimed Reflection Eternal endeavor, his name is still rarely mentioned when discussing hip-hop's new class of promising beatsmiths. However, Hi-Tek's debut, Hi-Teknology, should change that. While Tek collaborates mostly with many familiar faces, he adds a few new wrinkles to his organic compositions, roughing up his trusted MPC-3000 on Cormega's "All I Need Is You" and for the sinister "The Illest It Gets," which features Black Moon's Buckshot. Yet, the heart and soul of Hi-Teknology resides with those who Tek has already developed a solid working relationship with. Talib Kweli and Tek re-solidify their chemistry with "Get Back, Pt. 2," and Common enters the fold, with the lyrically enriched "Sun God," as his introspective lyrics emanate with a Marvin Gaye-like quality. Similarly, just as enticing is "Git to Steppin'," as Mos Def and Vinia Mojica body rock in perfect unison to Tek's sensuous organ arrangement. Though Hi-Teknology follows no discernible path, it is a grab bag of aural treats that enables Tek to display the full range of his production prowess. While Hi-Tek has yet to generate a mainstream buzz, Hi-Teknology is just the latest step he has taken to claim his rightful spot among hip-hop's elite soundboys. ~ Matt Conaway, All Music Guide
