Monday, August 15, 2011

BOOM BAP! Like This Anna…No Jigganiggin Here

"Teachers teach and do the world good/kings just rule and most are never understood/If you were to rule or govern a certain industry/All inside this room right now would be in misery/No one would get along nor sing a song/'cause everyone'd be singing for the king, am I wrong?!"
-KRS-One of Boogie Down Productions - "My Philosophy" (1988)

Let’s take seats where the people are. Off the golden throne sliding down the pile of shit all to realize the grit was muffled by the coon-coon pip popping. That grimy grit on repeat is really the Boom Bap. Today it is the way real brothers search for a shed of enlightenment’s forum they once knew and the way the fakest jot justifications on digiwax. It all seems 9thWonder was respectfully polite when he said the feeling wasn’t there on Jay-Z and Kanye’s Watch The Throne. But the media scribbler’s politeness is a mask in the broader shell of media’s authority, where you can be in it when it suits and suit it up to fit it in. Where is the brolically inclined writer to shit on the whole industry while the scribbler lacks the righteous reason and the measure of the refined to backbone this counter culture?! The snare coffin holds many a motherfucka with electro junk effects, computer blip locking mechanisms, fortifying American dream packaging and emo gender bending lamination that coats the b-boy insight as mere bitter hate.

But Boom Bap has too many examples for this writer. I ain’t gotta wait for another month for Bronze’s School to open and S.P.T.A’s like J-Live to release. Boom Bap is now being made relevant. The relevant where you’ll say that beat is Art now and twenty years later, that lyric is the raw portrait, that flow is the Black talent, the Black that knows it’s Brown too and Yellow too and for the downtrodden. But it’s never disingenuous, always passionately building but never haphazardly hit making cuz “rap is not pop if you call it that and stop.”


An incredible album that is an addictive study of Boom Bap. Large Professor is a legend like the old school makes them. It isn’t because of the classic works or the consistency of his work when it appears. His catalog is not at the length of other legendary producers (i.e. RZA, DJ Premier, Pete Rock, Muggs, etc.) but it’s the essence of what real relevance means. It means that Large Professor career is as a Hip Hop musician that furthered, and continues to further, the culture. His decisions to work with, promote and educate the great MCs and producers around him are just as crucial. Large Professor is relevant, relevant like Yip Man to all Kung Fu.

Neek the Exotic is one of the many that had real life slow his real wax. Yet, throughout the too short Still on the Hustle, his intensity and precise pacing merge with just superior beat quality. Large Professor leads with his sound of incredible bass drums that boom boom bap pound into grooving basslines. This is the shit that gives speakers work exemplified by the title track, one of the best songs of the year and may be the greatest example of Boom Bap just yet.


The Boom Bap album of the year as legendary Pete Rock gives Smif N Wessun their second classic album for this brother here. The nostalgic appeal of Pete Rock is noted as his horns while the strength relayed of him are his layered drums yet the binding power he conveys is in the depth of his bassline grooves. The horns are all over the place but they are ruggedly designed for Tek and Steele by merging them into the bassline grooves just as the horn blasts into a bass’d sigh on “(I’m A) Stand Up Guy” or the parade procession on the title track. Yet it’s Pete using evil violins (“That’s Hard”) or melodic chimes (“Fire”) or guitar stabs (“Go Off”) to provoke the bassline grooves that lead us into a diversity that can only be appreciated by indulging the Boom Bap addiction. These are tracks to be explored in endless repeat. These tracks are thick without the open spaces pop tracks treble up and leave barren. The breaks are all unique and differentiated while the pacing is perfected to the MCs they are directed to.


If Boom Bap could go righteously pop it was with Dilla with crisp snares and a spacing that allowed singers to sing and melodies to take center stage. The righteous pop baton is still in Detroit with Black Milk as he is a master of the digital drum. Often hollow and over punctuated, his snares deliberately make the joint bounce (“Understand This”) with utter simplicity or become part of a layered soup Sean Price and Guilty Simpson verse through (“ Monster Babies”). Black Milk is a digital orchestra with a core foundation of Boom Bap propelling all his tracks. Random Axe is the ideal example.


The lyrical effort of the year from the one of the greatest MCs of all time. Like Ghostface Killah, every MC category from pacing, flow, content, lyrical dexterity, wordplay, etc. are all excelled in at the most supreme heights. The perfected MC excels best on Boom Bap and here it is an abundance that is far from typical. Monch possesses so many dynamic cadences and melodic shifts that the beds to perform best will not be as stripped minimalist as say a Guru or GZA would have them. Yet the core of Boom Bap is that the drum breaks guide even when the music is epic Rock styled (“Grand Illusion”), straight wild funk (“Haile Selassie Karate”) or just an off beat break that pops as Monch’s revelations unfold (“Shine”). The best lyrical effort of the first half of the year is directed, guided and supported by quality Boom Bap.


Nothing is the same without RZA. RZA produces work for the particular MC. Every other Wu work without RZA sporadically achieves that even when beatmakers give their best. It really is up to the MC to select right but he may not know exactly how his voice ought to be compressed, drums equalized around him or the pacing that suits his flow and themes best. Ghost , GZA and Masta Killa have fared best in this while Raekwon has stumbled often. After the incredible reprise of Cuban Linx and its pyrex hells illuminated further, Raekwon continues throughout Shaolin Vs. Wu-Tang to choose quality tracks that allow him to continue to be one of the livest Boom Bap MCs in history. The soul samples and drum snares are abundant and they are of a driving style (i.e. “Butter Knives,” “Snake Pond,” “Rich and Black,” “The Scroll”) that allows him to perfect the wonderfully sinister vocal pace he’s developed.


A fruit of Killarmy’s Dom Pachino the Puerto Rican Terrorist, Bugsy is hardly content oriented to show and prove he’s God of the Nation of God and Earth at all (i.e. the cross on the cover can't help) but there is a strong street consciousness there ("Cell Diaries). While Bugsy's voice is extremely similar to Holocaust/Warcloud he has real stories, quality battle raps and a consistent flow that syllables on beat. Produced by unknowns earning a rep (Labmatik) and Wu-Elements (4th Disciple and Bronze Nazareth), the thump is pure Killarmy adrenaline as when 4th thick clap snare comes in off the organ melody on “Dogs in Heat” or the rugged blues Bronze throws on “The Sound of Gunz.” This is hardcore Boom Bap from the Wu inspired root where there is a wonderfully embraced ignorance of anything pop. What the fuck is Pop? is the sound of the snare and who the fuck is billboard? the sound of the bass drum.


An unfair record to introduce oneself to Elzhi as a homage to Illmatic entails verses that cleverly paraphrase NaS’ perfection. This reveals talent but may also be dismissed. However, if you we do more than act like we fucking know then his 2008 album The Preface is the superior near-classic album that this mixes into. Elzhi has all the skills from dexterity, word construction, pacing, flow, vocal clarity and a context from the street as the average real brother. Detroit is the new home of superior Boom Bap and Elzhi’s mic technique is as tough as Black Milk’s snares or as brutal as Bronze Nazareth’s blues’d bass drums. Elmatic can have the same problem with the beats but the live work of the Will Sessions makes the Illmatic instrumentals redone into some of the greatest remakes/renditions of classic material one can hear. If this quality and powerful resonance they achieve here is used to propel original material and new vocals from Elzhi then Preface is certainly elmatically driven to a classic.


Musically, this original collection is only derivative of the Wu-sound so the experimental freshness of the RZA isn’t here. The live band excels strong because of the thick basslines that are so strong they overpower melodic accompaniments that do little. The production works to create the Wu sound but is obsessed with doing it minimalist as the RZA is historicized as doing. On tracks as “Diesel Fluid,” “Laced Cheeba” and “Black Diamonds” it certainly works because the Wu MCs, especially Ghost here, are incredible and effortlessly able to work the tracks. However, the RZA verses are so strong in content (“Start the Show,” “225 Rounds”) and intensity (“Only the Rugged Survive”) they deserve more than just amped bass. Still, this also reveals that the core of Wu is Boom Bap and with nothing else they excel powerfully as expected.


First get past Ill Bill’s (and disappointingly my man Vinnie Paz too) completely not right and exact obsession with idolizing Malachi Z. York, a bloodsucker of the poor who packaged the truth of street spirituality and historical scholarship of the Nation of God and Earth, Nation of Islam, the great Black Books scholars (i.e. Ivan Van Sertima, Cheikh Anta Diop, etc.) around fabrications of his awkwardly ever-morphing, unproven special divinity over others and his fantastical tales that are mixed in to make his package uniquely special. Now or End?!! If that can be done, there really is no Paz work that isn’t guided by authentic Boom Bap. HMK is filled with thudding drums (“The Final Call”) or epic breaks with mean basslines (“Keeper of the Seven Keys”) and becomes a place to find the next beatmakers. For now, C-Lance has the Jedi Mind Tricks sound mastered with gothic lore and crunchy breaks.


Reviewed months earlier, Hasan Salaam and Rugged N Raw only know Boom Bap. They live and breathe Boom Bap and their work sounds like nothing coming off the stale chair Jigga and Ye are sitting on. If you’ve ever seen Salaam draw out the illest Boom Bap out of a Jazz band or Rugged walk into a venue raw, climb the stage and drop perfectly paced bars immediately, then you know that their catalogs are about Boom Bap. The Mo Danger album is filled with raw and up and coming beatmakers that reveal the great decision making of the MCs and excellent engineering work to blend such unique vocal talents.


Also reviewed months earlier, Kevlaar joins Bronze as leading the movement of rugged Hip Hop blues on wax. The insightful rich and poetically pensive EP is filled with the Boom Bap blues that are synonymous with all the Wisemen works. While Kevlaar doesn’t need outside producers, he fills the EP with great choices that in line with his ethic. Too many sellout rappers, who are far more educated than they promote, are given credit for just noting the slightest social catastrophe around them. When one hears Kevlaar do it without sacrificing the beat thump or rhyme flow to go that much further with detail and proposing solutions, we can see the disingenuousness that is floating in our main streams.


This quality joint by Ortiz is not near a superior Boom Bap event even though there are great highlights as”Oh” produced by Large Professor, “Sing Like Bilal” by DJ Premier. Nevertheless, Ortiz is a Boom Bap MC. His flow bounces on the snare and provokes the neck jerk immediately. No, he is no PUN and the homage can cross the line by over-jigganiggin the quotes and the references. Yet Free Agent has none of that problem and when the Boom Bap orchestra is there, Ortiz will be even more mighty.


These two albums are from two of the top 5 greatest MCs of all time. The reality of rhyming on Boom Bap is virtually created by them alone and absolutely revolutionized and furthered by them. However, G Rap’s Riches is plagued by beat sampling that is too derivative while Showbiz, the great Diggin in the Crates crew producer, really seems to be offering an experimental minimalist technique that lacks the horn driven Bronx ruggedness of his best works. Still, these albums are still Boom Bap driven and are above any mainstream record you stake your namedrake on.

Now the God Planet Asia is here because he is a Boom Bap MC that achieved greatness in 2008 with DJ Muggs on their Pain Language album, a clinic of Boom Bap. He continued that with last years group offering, Gold Chain Military but Crack Belt is missing breaks and that pulse RZA so often builds on. There are rare glimspes like the snare sustaining "Boilermakers" by Madlib and the horn thumping "Mixtape Madness." Still, Asia is one of the great Boom Bap MCs coming from the OO's.

With all this Boom Bap we can dump all the Coon Pip immediately. Yet remember that Coon Pip exists. It can be the shit that fertilizes the realest fruit but only if we know it as shit. Until then, those on the throne will have their A&Rs, those mountain climbers playing electric guitars, who will write the history wrong again. Always without knowing the meaning of dope...

Peace, Sunez

Sunday, August 14, 2011

67 Mob - T.I.M.E.

Hip Hop is a Black and Brown music from the few, with all the Black and Brown in their heart, created and made to be sincerely shared to anyone. It isn't supposed to be made for everyone. That's selling out. That means that not everyone can make it. But “now we got white kids calling themselves niggas” and pop electro synth with talk on it being hailed as “boom bap” as Jay-Z recently has. So when we see more white people there is either an extreme suspension of disbelief and we front hardcore or we love the unalike and the oppressor again and give them all time rank and play immediately. Both extremes don’t help a music that should be made and heard by anyone sincere with something to say uniquely and incredibly.

67 Mob’s sophomore effort, T.I.M.E. is produced by Domingo completely, and have another strong producer guiding them and with great feature MCs from KRS-One and Sean P to the new generation’s Joell Ortiz and Bronze Nazareth they have to work hard again. While they continue to brag and boast mostly there is more work on their ideas about making Hip Hop music and coming from embraced Hip Hop cultural elements (i.e. “Karma Will Come Back”). Often their voices are too high pitched and digital but where they only ranked just below average on flow and content on their debut, T.I.M.E. is filled with improved flows and increased cleverness considerably. There is real homework on their flows, double time pacing and keeping on break worked on here.

As an Original man of immediate Puerto Rican blood from Sunset Park, Brooklyn, my suspension of disbelief with their debut album, Raising the Bar (2009), was only halted by complete production from Bronze Nazareth and continued with Domingo working the boards. These brothers are Italians from Bay Ridge and Bensonhurst, Brooklyn, two of the most racist, despicable hoods in my youth. They are not hoods we Sunset niggas could easily spill into to break, rap and beat box. Yet with white hoes saying “nigga” and Eminem holding MC crowns from sellout media, 67 Mob are brothers worthy of a listen and maybe it begins cuz they “was raised in Bensonhurst and now rest in Gunset”(“Get Down and Grind”). Their rhymes care about the principles and art of Hip Hop and they can continue to honor their people absolutely as they have something to share about themselves and their people. If 67 Mob continue to align their LPs with 100% production from a great beatmaker, continue to take the craft seriously as they have and most importantly, share their true Italian Brooklyn experience honestly then that’s real Hip Hop, the artistic insights of the rarely heard. I look forward to it sincerely as well.