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Flash and his collaborators provide good beats and rhymes so if this is what a "studio album" is for Flash in 2009 let's just hope there are plenty more on the way.
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MojoWhile beats like 'Shine All Day's' electronic bounce feel odd at first, they gradually begin to make sense, while KRS-One's 'What If?' and the Supernatural-helmed 'Tribute To The Breakdancer' will keep the most ardent old-schoooler happy. [Apr 2009, p.108]
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The Bridge is undoubtedly well-produced and nearly every guest emcee puts forth respectable effort, but the whole album is missing that one song that could take it to the next level.
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Truly, though, I like to think that The Bridge takes the best of early- to mid-’90s hip-hop from New York, the synthesized sound of the last five to ten years, an interesting blend of MCs, and an ear for a slammin’ beat, and puts them together in a package that isn’t necessarily mind-blowing, but that is at least complete, well-intended, and meaningful.
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Overall, The Bridge has a very Reagan-era vibe, and not just due to appearances by KRS-One and Big Daddy Kane.
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UncutThe album's ersatz old school mode inevitably pales when judged against the revolutionary Flash asides. [Mar 2009, p86]
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Q MagazineOnly the stripped-down electro of 'Here Comes My DJ' shows anything like his old form. [Apr 2009, p.105]
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The production of The Bridge sounds like it came out of an extended catch-up session, the work of a man best accustomed to the breakbeat era's techniques trying his hand at the last ten years' worth of club-rap digitalism.
User score distribution:
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Positive: 2 out of 5
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Mixed: 2 out of 5
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Negative: 1 out of 5
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Jan 27, 2011
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AlexFMar 18, 2009It's just not good. The beats sound very messy and Grandmaster Flash didn't just deliver his best on this one. Extremely disappointed.