Preview on upcoming posts.

Hello. It has been a while since I have updated this. It has been since Christmas when I last wrote something for here. Anyway, I am trying to get back to writing some stuff on here. Right now, I have plans for the following:

  • Lost Boyz albums (All three, or four if you count Forever; I may do Mr. Cheeks’s solo albums down the road, maybe even soon)
  • Review of “Den of Thieves.”
  • Review of the Death Row Chronicles six-part series.
  • Review of Unsolved, the miniseries on Biggie and Tupac.

I am also planning on doing a Death Row marathon, and by marathon, I am talking about a series on Death Row albums, but I may need to also get my hands on some albums or listen to them in some other way (In a nutshell, it’s a mix of a backup drive being on the fritz, as well as my iPod dying on me, unless I can get it fixed in some way). I have a good amount of them, whether they are from their peak, or afterwards, or even the later days when they were bought out and they only released albums that were unreleased. I have a good amount of albums from them, so I think I could do this, but maybe split it in parts. I will post them when I am done. Stay tuned.


Compilation Review – Christmas Rap

Year of Release: 1987

Record Label: Profile Records

Merry Christmas, people. Here I am in my final review for this year’s Christmas/Holiday special. I couldn’t get some albums that I was thinking of reviewing in time, but I did get this one in time, however, so I figured why not close it out with a bang.

This may be the oldest album that I have reviewed thus far, and I know it won’t be my last, either. I also believe that this may be the very first Christmas-themed hip-hop album. So let’s get to it.

The first song on this album is “Christmas in Hollis” from Run-DMC. This may have been one of the better known Christmas rap songs. Hell, it was played in Die Hard, which was fitting in some areas depending on which way you look at it. Run-DMC were definitely big in the 1980’s, and it was actually a catchy tune that could get you in the spirit, especially with the lyrics in the song. I am not sure if I could say the same thing about the following track, “Let the Jingle Bells Rock” from Sweet Tee, however. I am a little unfamiliar with her and while she didn’t do a bad job in her delivery in her song, the lyrical content was a little more to be desired. For example, part of the chorus, which went, “What? You didn’t know didn’t know Christmas went hip-hop? Check the clock, and let the jingle bells rock,” got a little old fast. It wasn’t terrible, but it got repetitive. Though I will say that she did well in the delivery of her rapping.

As far as others go, one that was actually decent was “Dana Dane is Coming to Town,” from, you guessed, Dana Dane. I know that a lot of people had said that he bit Slick Rick’s style back in the day, not to mention that he used a fake British accent, despite the two being friends, but regardless of that, he still did a good job on the song. It was a silly track, but it’s definitely one that stands out in some ways.

However, the rest of the album is filled with some people whom I had never heard of. One track that kind of got my head bumping was “Christmas in the City” from King Sun-D Moet, which had an interesting sample of “Silver Bells” in the beat. He didn’t do badly on the lyrics, either. The same could be said about “Chillin’ with Santa” from Derek B, which had a sample of “Jingle Bells.” It was a fun track. However, “He’s Santa Claus” from Disco 4 was another track that had a “Jingle Bells” sample, but it had more of a synthesized beat to it and it was kind of cheesy.

Then you had some tracks that could have better. One good example was Spyder-D’s “Ghetto Christmas,” which made me feel that I was listening to some who was a wannabe of Kool Moe Dee, with a touch of Ice-T thrown in. “That’s What I Want For Christmas” didn’t need to be as long as it was, nor did it need a sample of “White Christmas.” It would be simple just to say that it was not a good song, but there was more to it. I didn’t mind the rapping, but really, it was not a great track that can be skipped. The final track on the album was more or less a mixed bag, as the Surf MC’s had their track with a synthesized beat that overshadowed the lyrical content. The beat was good, but the same cannot be said about the lyrics.

Overall, this album was a mixed bag. The first few tracks were more or less the best ones, while the final few tracks were filler at best.

Check out the back artwork.


Album Reviews

Album Review – Ashanti Christmas albums.



Years of Release: 2003 ; 2013/2014

Record Labels: The Inc Records (Ashanti’s Christmas); Written Entertainment/Entertainment One (A Wonderful Christmas With Ashanti)

Here I am doing something that I haven’t done before prior to this. Okay, maybe I have done something similar, as in the past I had done a double review for my college newspaper when I reviewed Grand Theft Auto V and Saints Row IV as a comparison review. However, this is the first time that I have done one on music albums and being that it’s Christmas time, I wanted to do something like this especially if these two albums are from the same artist. I have also noted in the past that I am not opposed to doing R&B albums for this website. I also must add that I am a fan of Ashanti and in some ways, one of these two albums could qualify for this site as Murder Inc was (or is, as it still sort of exists) a rap label. So R&B was never out of the question for me to review on this site.

I will go over these two albums chronologically, which means that I will talk about Ashanti’s Christmas first.

Before I critique the album, I remember that I had contemplated getting this for years but I mainly listened to some reviewers on Amazon, which had given this a low score. Some had compared it to Whitney Houston’s (RIP) Christmas album that came out around the same time as this one did, but you can’t really compare to the two, especially considering how different their vocal styles were. But sometime later I bought her second Christmas album, so I thought it wouldn’t hurt to give the other one a go. I have to say that I went going with my own instincts and I came out actually enjoying it more than I thought I would, but there were some flaws on this album.

I won’t deny that she had limitations in her vocals, and her singing voice is rather high, but that doesn’t mean that she didn’t try her best. She did well in some songs like “Christmas Time Again” and “Hey Santa,” which I initially expected to be a cover of the Carnie and Wendy Wilson song of the same name. I also enjoyed her version “The Christmas Song,” as well as “This Christmas,” but then you had her versions of “Silent Night,” “Joy To The World,” and “Winter Wonderland,” all of which could have been a lot better than they actually were. Also, some of the production had some jazzy feel to it, but some of the other tracks could have better work done to the beats and instrumentals. One of other song that I liked, however, was “Time of Year.”

This wasn’t a terrible album by any means, but in some ways, it is a good to play during the holiday season, but some of the tracks could have been better. In fairness, it was during a busy time for her as this came out the same year as Chapter II, her second album, and I am sure that there was not a lot of time to try to perfect the songs. Still, it’s decent enough to play during Christmas time, as some of the good outweighs the bad slightly.

As for A Wonderful Christmas With Ashanti, it could be said that over time that things probably had improved vocally and the production was a little different this time around. I must note that I also bought this during the holiday season of 2014 at Target, which had a version that had two exclusive extra tracks. It was previously released in 2013 as an EP, before another version had come out with more tracks the following year.

What is noticeable is that this album does have the feel for the holidays, even with some songs having an R&B-lite beat for the background in some songs, like “Christmas Love” for example, as well as “It’s Christmas.” But what’s also noticeable is that even the uses of the bell sounds added to the beats to give it a Christmas-like feel. Her vocals had also matured over time. It HAD been a decade since her previous Christmas album.

I liked how the production was done for “Sleigh Ride” and “Let It Snow,” as they were rather upbeat for this album. The song, “Christmas is the Time,” was actually a re-worked version of “Time of Year” from the previous Xmas album. I liked both versions, but if you were to listen to both versions back-to-back, you can see the differences, as well as the comparisons. She also did a good job in other songs like “The First Noel” and “Santa Baby,” the latter of which I am not a huge fan of, but I’ll listen to her version (Along with Gwen Stefani’s version, as heard in her Christmas album).

The album closed off with “White Christmas,” and it was quite a family affair on this one, as her parents, her cousin, and her younger sister, Chi Chi, all sang on this one. Though the relatives were mainly backup singers in it, it was still a nice track to listen to and I have to give them all credit because it seemed that Ashanti wanted to do a song with her family and I can’t help but respect that.

Out of the two albums, I preferred A Wonderful Christmas With Ashanti more than Ashanti’s Christmas, but I really don’t think that her first Christmas album was as terrible as people said it was. She was rather big during the time that album had come out and haters did hate on her during that time (Not to mention that she collaborated with Ja Rule, who was the biggest laughingstock in the rap world in 2003). It could be said that she had improved within that time, as well as more time was put into the second Xmas album, so that is why it was the better album of the two. But I know I will play the first one during the holiday season as well in the future.

Ashanti’s Christmas – 3.5/5

Top Five Tracks:

  1. Time of Year
  2. Hey Santa
  3. Christmas Time Again
  4. Sharing Christmas
  5. The Christmas Song

A Wonderful Christmas With Ashanti – 4.5/5

Top Five Tracks:

  1. Christmas is the Time
  2. The First Noel
  3. Can’t Wait For Christmas
  4. Sleigh Ride
  5. White Christmas


Album Reviews

Album Review: Jim Jones – A Dipset Xmas

Year of Release: 2006

Record Label: Diplomats/Koch Records

It seems that after having done my reviews of Christmas on Death Row, High Fo’ Xmas, and Christmas in Tha Dogghouse, I found that sometimes mixing the holiday spirit with hip-hop can sometimes be a good and bad thing. Okay, maybe “bad” is pushing it, but sometimes you have the good, like the Death Row Christmas album (Believe it or not, it was actually good), then you have the ones that you can joke about like High Fo’ Xmas (Though the Eazy-E Christmas song isn’t far behind), and then you have the ones that left a lot more to be desired, like Christmas in Tha Dogghouse (Though there WERE some good tracks on it).

First off, I can’t say that I was ever a big fan of Jim Jones. I don’t dislike the guy, I just never really heard much of his stuff outside of “We Fly High,” and just thinking about that song took me back to 2006/2007 when that was all over the airwaves. Then again, I can’t say that I got into the Diplomats, either, though I don’t mind Cam’ron or Juelz Santana, as I do enjoy some of their material. The first time I found out about this album was when I read a review about Christmas on Death Row and this was mentioned in the first paragraph. I thought it was a joke until I looked it up on Amazon. I figured that this would be perfect for me to write a review on it.

The main thing that should be said is this album kind of falls in the middle depending on how you look at it. Before I get into the album, the album insert that had a photo of the Capo himself with a snowy backdrop and a quote that said “I wanted to make a Christmas album for kids in the hood and shit like that.” I can’t fault him for that, as the Christmas-related tracks did sort of capture the spirit of the holidays. For example, I liked how “Dipset Xmas Time” had its own spin on Paul McCartney’s “Wonderful Christmas Time.” I personally am not a fan that song, but “Dipset Christmas Time” was actually a decent track. Also, “Ballin’ on Xmas” was a good hip-hop song with a Christmas theme. It was also good to hear the beat to “Christmas in Hollis” from Run-DMC, whom sampled “Back Door Santa” from Clarence Carter. “Wish List” is actually standout track with mentions of how life in the ghetto was like in the holiday season.

However, the biggest problem that this album has is that only the first five tracks are related to Christmas as the other half isn’t. Hell, I got the Best Buy version in the mail with contained additional three songs and they weren’t related to Christmas. Not to say that those other cuts are bad, though some could have been better, but I wondered if Jim Jones wanted to have some songs that didn’t make the cut on Hustler’s P.O.M.E. (Product of My Environment), which came out a month prior to this one. Out of all of the tracks that weren’t related to Christmas, the only one that stood out was the remix to “We Fly High.”

This album isn’t terrible. At first, I thought that it would be kind of a joke Christmas hip-hop album, but the first five tracks are actually pretty good because it did follow the Christmas theme. But seriously, this album COULD be listened to outside of the holiday season, just as long as you don’t listen to the first five songs. Hell, it would be better if the other five (Or eight, depending on which version you have) was burned onto a separate CD so that you could listen to it during the other parts of the year, while the first five songs can be put onto its own disc (Or playlist depending on how people do it these days).

It’s a soft recommend from me.

Top Five Tracks:

  1. Ballin’ On Xmas
  2. Dipset Xmas Time
  3. If Everyday Was Xmas
  4. Wish List
  5. Have a Happy Xmas

Honorable Mention: We Fly High (Remix)

Rap Movie Reviews

Rap Movie Review – The Man With The Iron Fists 2

Year of Release: 2015

Film Studio: Universal Pictures/Arcade Pictures/Strike Entertainment

In the past, when I saw that there was a sequel of The Man With The Iron Fists that was made, I was baffled and not baffled at the same time. It wasn’t until recently that I found out how the first film did in its theatrical run. However, for it to have green-lit a sequel, I could only guess that a lot of units of the DVD and/or Blu Ray sold when it came out on home video. That, and maybe RZA also wrote a screenplay for the film which then got Universal to make it happen.

Like the first film, RZA had more than just a couple of credits as he yet again starred in it, as well as co-wrote the screenplay, and composed the film’s score. He also had an executive producer credit (Along with Eli Roth, the predecessor’s co-writer) and a music supervisor credit for the film, which for some reason was listed as his real name, Robert F. Diggs, whereas the other credits he was credited by his stage name. However, UNLIKE the first film, he didn’t direct it this time, as it was directed by Roel Reine, who is known for directed a lot of straight-to-video sequels. I will admit that I have seen a good amount of his films, ranging from the Death Race prequels, Hard Target 2, and sequels to a few WWE Studios films such as The Marine 2, The Condemned 2, and 12 Rounds 2: Reloaded. What can I say? I have a strange thing for straight-to-video sequels, not to mention that I am also a wrestling fan.

With a different director at the helm this time, it had a different feel to the first film. As far as any returning characters go, RZA’s character, Thaddeus, is the only one to return. Sure, there were some flashback sequences to some characters from its predecessor, but only two of them were played by the same actors. It’s a totally different story this time, too, as Thaddeus went to a different village to seek a temple to make peace with himself. He was found wounded by some villagers and then found himself in the middle of a power conflict in that same village. I will say that RZA had more of a presence this time around, despite having not been seen for a half hour after the first scene he was in.

Another thing that was different this time around were the fight sequences with some characters. It appeared that a lot of the fight scenes included some legitimate martial artists and weren’t reliant on the use of wires. But was jarring were the editing and odd camera angles during those scenes. For example, one scene had two men fighting and then there were bird’s eye camera angles and then moved close to them and then changed angles, rinse and repeat. That didn’t take away from the fact that the fighting in those scenes was good, though, just the editing and cuts were a bit distracting.

Carl Ng, who played the main villain, Master Ho, seemed like he was having a blast playing that role. It’s like he really brought his A-game to it and was committed to it. Cary-Hiroyuki Tagawa did a good job in his role, too, and the twist/revelation towards the end was definitely something that I would not have expected and he is good as always. As for RZA, he didn’t do a bad job in his role. My main guess is that he was more or less swamped with a lot of his duties in the first film that he didn’t put a lot of effort into the role. He still has room for improvement as an actor, but he did a better job in this film (I didn’t mind him in Brick Mansions, looking back).

RZA also handled the score pretty well. I have always admired him as a producer and I think he should do film scores a lot more. But also like in the first film, there were some rap songs played in some scenes. Now I liked what I had heard, but the song just felt out of place and was just too anachronistic for this.

I must say that I found myself enjoying this film more than I thought that I would. I even enjoyed it more than the first film. A lot of the action scenes were actually decent, especially the big climax. As said before, the fight scenes could have been better without the odd edits and camera angles, but that’s about as far as I could go in regards to the flaws. I wonder now if RZA is planning to do a third film. Only time will tell.


Rap Movie Reviews

Rap Movie Review – The Man With The Iron Fists

Year of Release: 2012

Film Studio: Universal Pictures/Strike Entertainment/Arcade Pictures

When listening to a Wu-Tang album, it should be of no secret that RZA is a huge fan of Kung Fu flicks. It’s obvious by hearing some clips of them in some songs, especially in “Enter The Wu-Tang (36 Chambers).” Hell, there was a Kung Fu theme for their video game, “Wu-Tang: Shaolin Style,” a game I should cover one day. RZA has made it known that he is a fan and it is obvious with this film, “The Man With The Iron Fists.”

This film was basically RZA’s pet project as he has about five different credits for this film. That’s right, he had not only directed this film, but also came up with the story outline, he co-wrote the script with Eli Roth, he composed the film’s score, and of course, he also starred in the film. That must have been tiring for him as it’s not easy to have multiple duties like that. However, the only thing that was first for him was that it was his major film directorial debut as it was not the first time he had acted or composed a score, nor was it the first time he had come up with a film idea.

In the past, there was an idea that he wanted to get off the ground, which was a film adaptation of his Bobby Digital character, not to mention a trailer (or short film) was released in 2000 of it. Two years before TMWTIF came out, a short film called “Wu-Tang vs. The Golden Phoenix” had come out. It seemed like a precursor to this film as it has the same style. According to some sources, the development for this film came about not long after RZA had done the score for the “Kill Bill” films, which is probably the reason why Quentin Tarantino had his name as the presenter of the film, despite having no credits in this film at all. At some point, RZA had met Eli Roth and they had co-written the script and at some point, the script was rewritten and Roth was disappointed in the rewrite, that they had to change it up again. However, when the film was pitched to producers, they had trusted RZA to direct after having seen “Wu-Tang vs. The Golden Phoenix.”

As noted before, this was quite a step for RZA, especially having multiple credits in this film, but what about the film itself? How was the film? Well, before I get into that, I will note two things. One, I remember having a written a review of this film for my college newspaper back when it came out. I remembered I had praised the film, but so much time had passed that I was not sure where I stood with it. I gave it a lot of credit because I am a Wu-Tang fan and enjoyed some of the fight scenes, but at a certain point, I looked back and thought it was cheesy. The other thing that I must note is that for this review, I had decided to watch both the theatrical version and the unrated extended edition back-to-back to see the differences. It wouldn’t be the first time that I had watched two different cuts of a film back-to-back.

The film’s plot involved a faction, a British soldier, and some others on the hunt for gold, while a blacksmith (Played by RZA), who makes weapons for assassins and warriors, has to defend the village that is being invaded. It seems like a plot that had been done before, but I think that is what RZA was going for as it was done as a tribute to martial arts films from the 1970’s. But even with a simple story like that, it just seemed like it was all over the place.

There were some known names in this film, such as Lucy Liu, who played Madam Blossom, a madam for a brothel in the village, and Russell Crowe, who played Jack Knife, the mysterious British soldier whose presence was unknown until the end of the film. According to IMDB, Crowe had agreed to do this film in return for RZA teaching some rap lessons to a rugby team Crowe co-owns, as well as that he only worked on this film for 10 days. He must have been rather consistent in the time of shooting because he had a lot of screen-time. Actually, Liu and Crowe didn’t do a bad job in their performances in this film. Another known name, Dave Bautista, better known as Batista in WWE, as well as his portrayal of Drax in the “Guardians of the Galaxy” films, mainly played a brute in this film. He didn’t really have much to work with than just be a big, hulking brute who can turn his body into brass. But what about RZA? That is a really good question. For a guy who is supposed to be the title character, he took a backseat to a lot of the events of the film, whether it was with the villains, Crowe’s character, Liu’s character, or even Bautista’s character. Sure, he had to direct it for the most part, and he had screen-time, but he didn’t really have a lot to do, nor did he really act well in his role. It’s true that he has acting credits in his name, but he really isn’t much of an actor.

What this film shined in were the fight scenes, as a lot of the choreography was well-done for those scenes, especially the use of wires for the aerial attacks. Also the score from RZA was done well, too, as the music went well with the scenes that the tracks were used in. But what was distracting in the fight sequences was the use of CGI blood. Just looking at the blood squirting out of the wounds in those sequences can’t look any more fake than it already is. It would have been better if there were blood squibs used in those scenes to make it look more real. Also, about the music, while I loved how there was a remix of “Shame on a N****” used in a scene, as well as “Unpredictable,” it just felt slightly out of place as it was anachronistic, but then again, even some other anachronistic songs were used in some other sequences.

I have to give RZA some credit for this film as he is really passionate about martial arts films, but the end result just came out as average at best, with the cons slightly outweighing the pros. The story was not all that great and it really hard to follow what was really going on. Also, while some characters had a purpose in the plot, some of them were not really needed to drive the story. Some of the story aspects were vague. Some of the actors’ performances were fine, and with a film like this, the acting is not really essential to make it good, as this film’s selling point was the action itself. The action and the fighting were actually among the pros, but something about them was taken away with the use of CGI blood. The film didn’t hold up from my first viewing of it when I saw it in theaters, but it really was not terrible either. It didn’t deserve the praise that I gave it back then, but I didn’t mind it, either. It’s not a terrible way to spend a boring day with nothing to do.

One more thing, I am aware that there is a sequel to this film, but it’s straight-to-video. I guess RZA had some more story to tell and the film didn’t do well in theaters enough to justify a theatrical release for the sequel (It was shot on $15 million but made only $19 million). I will get to that soon. The same will be said about the soundtrack for this film.

If you want to read my original review, click here. Thank you.


Album Reviews

Album Review: Gravediggaz – Nightmare in A-Minor

Year of Release: 2001/2002

Record Label: Empire Musicwerks/BMG Music

Here I am in my final Gravediggaz album review, which is of their third and final album, and also as part of my horrorcore special (That doesn’t I can’t do horrorcore album reviews outside of Halloween-time).

Before I get into the review of the album, it must be noted about the background of this album. By the time this album was already in production, the two main producers, RZA and Prince Paul, respectively known by their aliases “The RZArector” and “The Undertaker,” (I often wonder if there was copyright infringement on the name because it was shared with the well-known pro wrestler, despite the title being an actual profession) had left the group. It was even noted in the liner notes in the CD booklet that RZA had other obligations to attend to (During that time, he was likely working on his solo second album, “Digital Bullet,” along with the two Wu-Tang Clan albums, “The W” and “Iron Flag,” and likely also working on production on solo albums from Wu members).

Also, during the time this album was being produced, Too Poetic, also known as Grym Reaper, was suffering from cancer and in spite of it, he still gave it his all in his contribution to the album. He passed away not long before the release of this album. So it was fitting that this was released as a posthumous album. It also should be noted that with the absence of Prince Paul and RZA, this album was produced by Frukwan (Gatekeeper), Poetic, True Master (who had contributed to “The Pick, The Sickle and The Shovel”), Diamond J, and LG. So with or without RZA and Prince Paul, it had no effect on the quality of the album.

Anyway, how does this album compare to “6 Feet Deep” or “The Pick, The Sickle and The Shovel”? Well, credit is given where credit is due. Some of the instrumentals in some of the tracks were a little weaker than its predecessors, though the lyrical content is still really sharp. The instrumental used for the skit, “Last Man Standing,” was eerie, as it was not only produced by Frukwan and Poetic, but also True Master, Diamond J, and LG.

The first actual song on the album, “Bloodshed,” actually kicked the album off on a high note. Frukwan and Poetic delivered some great rhymes mixed in with a dope beat.

Also, it seemed that there were some appearances from Wu affiliates once again. “False Things Must Perish” had an appearance from Prodigal Sunn, of Sunz of Man, which is funny because Killah Priest and Shabazz appeared on the previous album. Yet, another member appeared on this one. There was also an appearance from Shogun The Assasson, of Killarmy, another group affiliated with Wu-Tang. He appeared on the song, “Man Only Fears.” Both rappers did a good job in their respective appearances.

I can’t think of a lot of negative things to say about this album, except for maybe a couple of tracks, which were “Running Game On Real” and “Wanna Break,” but their flaws were mainly the beats. The beats sounded rather messy and too bassy for my tastes.

Frukwan and Poetic did a great job in the lyrics in all of the songs, but I have to give a lot of credit to Poetic for even going so far as to rap about his illness in “Burn Baby Burn.”

Yo, pain builds my character
Deranged cancer cell begin to damage my shell
Tissues begin to swell
A human pin-cushion needles begin pushin’
Through my, melanin color, blood begins gushin’
Hunger, pain is, fed through my veins
Tryin’ to maintain body and brain under strain
Belly bein’ drained from my nose through a catheter
To maintain my stamina, game is high caliber
Flashback my dossier file before the hospital
Lots’ll pay a pile of cheddar to see me rock my style
Got lots of smiles from man woman and child
A grave digga here runnin’ wild like the Nile
Ghetto, X-File, the horoscope bringers
City morgue singers, new rap era beginners
Four years out of seven I remember tourin’
And this year I’m measurin’ my urine

I didn’t know this when I bought this album, but it appeared that there was an original version of this album. There was actually an original release that had come out a few months after Poetic’s death and according to a review on Amazon.com, it said that there were a couple of extra tracks on it. Also, what was noted was that there were different beats used on certain tracks, for example, “Bloodshed” had a different beat on the 2001 release. I am now curious about getting my hands on this version so that I can hear the differences, though I COULD listen to them on YouTube, but still.

Overall, issues with the production aside, being that it was slightly weak (But by no means bad), this album was actually a good swan song for this group. It is a shame what happened to Poetic because he had the skills and talent to really shine as a solo artist. Frukwan later released his own album after that, which I may check out down the road one day. I might even check out his work with Stetsasonic. This was actually a decent album.


Top Five Tracks:

  1. Bloodshed
  2. False Things Must Perish
  3. Burn Baby Burn
  4. Man Only Fears
  5. Nightmare in A-Minor