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In November 1996, The Source gave 3 and a half mic's and here's an excerpt of what Miles Marshall Lewis wrote about the Punk Barbarians debut: "It seems like recently in rap, everybody's album is based on one of these three concepts, but they're not dealing with the reality of the drama in between," says Doozer mid album, discussing "Sex, Props, Cream...And The Drama In Between" title of his Punk Barbarian crew's album. The PB's arrive to a ravaged hip-hop landscape with high aspirations: detailing the drama in between libido, recognition and economics could fill 14 albums, much less the 14 tracks on the album - in essence merely struggle - is, after all, the basis of life itself. With their work cut out for them, the Punk Barbarians still manage to leave a strong mark. Their lively interplay - with an engaging reminiscent of an Onyx or Lost Boyz - sounds honest, like a crew that's been together since the sandboxes of their native Long Island. The foursome bounce off each other like perfectly arranged quadraphonic accoustics, particularly with thepulsing "Blast Off" and the Spanish-guitar textured "Sweets". Jazzy production includes snippets of vibe and harp that echo masters like Lionel Hampton and Alice Coltrane, while simultaneously evoking the aesthetic feel of The Low End Theory. Some tracks ride the line between simple influence and imitation of Tribe's jazz-rap masterpiece, but with an intuitive understanding rather than mere bastardization ..."
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