Pitchfork

At the start of 2004, the term "mashup" finally went overground in the U.S. when Danger Mouse's infring-o-rama The Grey Album earned the bootleg blue ribbon for its surgical deconstruction of the Beatles' sound. But while some cats are trying to make sense from absurdity by calling a spade a spade, let's be perfectly honest: The rock guitar vs. emcee isn't new. Run DMC did it, Public Enemy did it, even Onyx did it. Fortunately, DJ Ayres and co. skip the semantics: It's the Motherfucking Remix. Known for the innovative sets at the Brooklyn-based Rub parties, The Remix carries all the energy and creativity for BK crowds itchin' to scuff up their dancing shoes.

The collection capitalizes on two elements: originality and flow. Listening to Mobb Deep's Prodigy boast about murderous blood splatters on his daughter over the Ghostbusters theme evokes a few chuckles, but succeeds because the synth-tuba perfectly accents the Queensboro duo's spitfire. Nick Catchdub's cross between middle school favorite "Cannonball" and "Party & Fire-Shit" combines a fiery Rah "Ima beat that bitch with a bat" Digga with Lollapalooza. (For all you Phillyheads, it's like Y100 shaking hands with Power 99.)

Of course not every single was ever meant for cross-breeding. The Beatles' "And I Love Her" and Kelis' "Milkshake" is an unholy alliance of a shameful degree. Gregory Isaacs over "Go DJ" is wholly cacophonous. And Mark Ronson rides the gimmick pony with "Bombs Over Baghdad" and "Take Me Out". C'mon duke, I know there's at least one other record in the crate.

And, of course, conceptually this doesn't clear any new ground other than offering a new platform for some rising deejays. Nonetheless, The Remix is honest and creative. "Culo" and "Let's Go to Bed"? Motherfucking brilliant.