20 degrees with no jacket.

It's really tiring to hear fellow bloggers complain about how bad rap is, how rap (beef) is boring, etc. To me, this sounds like empty talk. For one, there are people with excellent taste sharing that new new for you you. If you don't know where to look, that's one thing, but to complain that nothing good exists is tiresome. To be clear, I am not thinking of the (thankfully) dead argument about "real" rap or whatever, just good music regardless of its source. Secondly, there is so much music of all kinds out there, including rap, that it is nearly impossible to be up on everything as it happens. So, while I haven't been following the latest in Rick Ross leaks, though I have heard something about Weezy saying he's "in the all black Maybach, sittin' in the asshole," I do have plenty of time and energy to look for somewhat old or overlooked records that I didn't check for when they came out because I was busy or doubted the quality of the full album.

About three years ago, I remember being home for spring break and doing what I do normally when I was back at my parents' house: watching TV and eating food out of boredom. I didn't have a car, and being on the internet all day didn't appeal to me, so those were my last two options. It was abysmal. Anyway, I remembered seeing, in the fall I believe, the video for Da Backwudz single, "You're Gonna Luv Me," and during spring break, I saw the video for their second single, "I Don't Like the Look of It." I was pretty sold on them as a group.

Keep in mind, at this time, crunk was king and at this point in time I was decidedly against Southern rap in that manifestation. It was nice to hear a song like "You're Gonna Luv Me" that let the beat breathe as opposed to trying to start a riot, and if you watch the video, the duo felt very entrenched in the culture of Atlanta. They weren't trying to imitate anybody else from their city and still felt authentic, which I think is hard to do when such a strong movement exists. The simultaneously bizarre and brilliant choice of sampling the Oompa Loompa song for their second single was too creative to to hate on, and they really did the beat justice. Reading this, you may think I picked up Wood Work, their first (and at this point, only) album, excited to hear what else they had to offer the rap world. But, I figured that it would be like many other rap albums released since 2006: an uneven affair with the singles as the best songs, a lot of trend chasing, and one "reflective song." Sometime a couple weeks ago, I was reminded of their existence, though I forget how, and decided to finally give the album a listen three years later.

Now, if you were to listen to only the two singles mentioned above, you might think of Da Backwudz as extensions or updates of OutKast's stylings. Personally, I tend to think of Field Mob as more fitting of that description. A better example of a group of Southern rappers similar to Da Backwudz is more likely Trenton Takes favorite Jim Crow. Both work with similar A-Town heavyweights Organized Noize and Mr. DJ for a track, are more playful in tone than OutKast or other DF members, and Crow's Nest and Wood Work are both mainly backed by one producer. In the case of the former: Jazze Pha. The latter: Milwaukee Black. I think many of us agree that having a primary producer for at least a debut album is good for all rappers, and it is certainly the case here.

Something that is really striking to me about Wood Work is that it really plays like it was meant for vinyl or cassette. That is, it's tone switches halfway through the album as though there are two separate sides. The first half is where the heavy hitters can be found: both singles, a good intro (what?), a great Killer Mike feature. Side A sort of falls off when the snoozer "Fantastic" comes in (read SMS's take here). The second half is really the impressive part to me. These guys show a lot of depth in their subject matter, are introspective, and with help from Sleepy Brown, Gipp, and George Clinton, how can you really go wrong? With those names, I guess I can see the OutKast tribute thing, but none of those songs remind me of DF at all, except maybe the album closer "Smoke N Ride."

As rappers, Big Marc and Sho 'Nuff are competent enough. The second half of the album is really interesting to listen to, since they show great range that was sort of missing from their singles. This is certainly worth a listen, in my mind.

I Don't Like The Look Of It (Oompa) (Feat. Caz Clay)
Whatcha Know 'Bout My Life (Feat. Big Gipp)

Fun at the thrift store

Since I am finally getting adjusted to my new home in Boston, I figured this weekend I'd try and find a used record store that I could frequent whenever I felt the need. Last summer, when I was in Seattle, this worked out pretty well. I lived right around the corner from one and got Deliverance, Still Standing, Ain't A Damn Thing Changed and at least one non-rap album, I just forget off the top of my head right now. I've heard so much about how Boston is a great music town, so it seemed obvious to me that there would be plenty of used record stores all over the place, especially since I live pretty close to BC.

Not so. On my first outing to find records, I came up with basically nothing. Imagine that, there are no used record stores in the hipster section (however small) of this city. All I was able to find were two cassette singles: 3rd Bass' "Pop Goes the Weasel" and Kriss Kross' "Jump." They really helped with my Halloween costume at the very least, but I rarely want to hear much from either of those groups. Anyway, I was at a party on Friday night with a friend of mine, and instead of mingling (like any good young, single person) with the other guests, I read the recent city guide put out by the Weekly Dig and saw an entry about the thrift store Diskovery. What a great find that was. I got some great stuff for only $4. Here's the stuff I could upload really easily:



Jim Crow- Holla At a Playa (Single)

What. A. Find. And it was free. There's really nothing more to say that I haven't mentioned before. I will say I'm disappointed that the Trackmasters remix only comes edited. Luckily, the Polow remix has the same verses but keeps most of the elements of the original beat. The switch when Too $hort comes in is pretty slick, too. It's no "Throw Some D's," but it's a cool early look at Polow's skills.

Holla At a Playa (Polow Remix feat. Too $hort)



Rahzel- Make the Music 2000

I cannot tell you how many afternoons I wasted as a kid with my brother playing NBA Live 2000 and hearing "All I Know" and Naughty By Nature's two biggest songs (if you have the game, you know). I also remember seeing him on MTV's "Direct Effect" with Sway and thinking he was the coolest guy around. Probably because he was a former member of the Roots. And he could do a beat like "If Your Girl Only Knew" while doing the vocals at the same time. Gimmicky? Yes. But a great gimmick nonetheless. In hindsight, was he even a part of the Roots after their first album? All the skits on the later albums I have say "vs. Scratch," even though Rahzel has tons more personality and talent. Why he left is something I'd be curious to know, as well as how he got beats from Pete Rock, Scott Storch and Marley Marl. I'll give it a better listen and then offer my thoughts soon. The nostalgia value alone of remembering my great seasons playing as the '98-'99 Kings made this find way worth it. Free .99 as well.

All I Know

Raps.

There are a few songs I've mentioned that are pretty great, though I realize not everyone has the time for "___ zshare" searches on Google like I do. So let's try this out. Do enjoy.

Backbone feat. Cee-Lo & Joi- Lord Have Mercy

Jim Crow- Big Dreams

O.C. feat Organized Konfusion- You Won't Go Far

Big Gipp- History Mystery

Diamond D, Sadat X & Lord Finesse- You Can't Front

Trying to ball like Liberace

You guys already know I enjoy the lost rap trio Jim Crow. So of course, I am happy to be led to Jim Crow's unreleased third album, Bandits. I think what I enjoy most is the idea that a rap group named Jim Crow did a song with a white, Southern rapper (Bubba Sparxxx). And the file has the original version of the Off the Yelzebub classic, "Holla at a Playa." I'm sure I will have something to say about the album soon, as well as Bubba's first joint, depending on time.

Also, if you've never heard "You Won't Go Far," a soundtrack cut by Organized Konfusion and O.C., please do so now. It's from the New Jersey Drive soundtrack (Vol. 2), a movie which is probably more famous for "Benz or Beamer" by OutKast. In true OK form, these guys create a vivid picture of car jacking, it's thrilling and kind of scary at the same time. They're committed to their roles on wax, so it's worth checking out. It's also a really interesting contrast in tone to "Benz or Beamer," since 'Kast use a smooth, relaxed beat compared to the hard-hitting snares and piano in "You Won't Go Far," which I assume is produced by OK. It is sort of reminiscent on O.C.'s "Constables," also done by Prince Po and the Mighty Pharoahe Monchichi. Both are great songs, focused on the process of stealing a car, but the tone the two groups take makes for all the difference in the world. In someways, they highlight the differences between the aesthetics of the two regions at the time. I'm rambling, just listen to the songs. Here's the OutKast joint. Also, take a blue pill while I'm here.

I come through swervin'

Rap music is just as much about the image as the substance. Everyone likes to talk about the shirtless thugs that have supposedly ruined hip hop, but collectives like the Native Tongues are just as guilty of using their image and public persona to get their message across. Think about a group like Slum Village: if it were not for beats that sounded like the next phase Tribe and their matching hobo dress, would anyone on Okayplayer seriously defend an album that has the chorus, "Fellatio interference, promiscuous Homo sapiens?" The granola gang was tricked by the way the group marketed itself. The Dungeon Family took advantage of each member's unique/foolish sense of style to craft albums that could range from misogynist or violent to highly spiritual. And the listener would never really be made uncomfortable by the change. Of course, the production of Organized Noize (like Slum's Dilla) had a lot to do with this. And this brings us to Mr. Fat Face 100, Backbone.

It is hard to say why I felt Concrete Law was a bit underwhelming. I am hesitant to say that it was the production. I know if a lot of these beats had been for Goodie Mob or OutKast, I'd say that this was at least a really great listen end to end. It's not that Backbone is particularly bad at rapping, either. Quite contrary, he is rather competent. Instead, his image and the approach he takes to his songs simply do not match. Watch something like the "5 Deuce 4 Tre" video, and he seems like someone who is focused on his grind and "on the come up," as they say. And if you were to simply read his lyrics, you would get that same impression. Like fellow DF member Cool Breeze (who Noz did an XXL post on a long time ago), Backbone's lyrical focus is the trap and it's effects on how he views the world. If the album had quite a few songs like "Slump" or "I Refuse Limitation," this would be absolutely wonderful news. Sadly, there is only one song like that here, "Lord Have Mercy," with Cee-Lo. It is truly a great song. Elsewhere, the emotional weight of the verses gets lost amongst inappropriate beats, meaning they convey a sense that the trap is a refuge, or Backbone's very annoying habit of emphasizing the wrong syllable and raising the pitch on that syllable. It can make for an awkward listen, especially if he is trying to be serious. A party song? Sure, go ahead. Why none of DF told him this, I will never understand.

Besides the single and the aforementioned song with Cee-Lo, there are some other highlights. "Believe That," which features the beat from the opening skit on Aquemini, is pretty great. I guess it doesn't hurt that Gipp and Slimm Calhoun are there to help him out. It's also odd that neither Daddy Fatsacks nor Chamelio Salamander make any sort of appearance. A damn shame, really. The Youngbloodz make an appearance, though they are the only Attic Crew members to do so. It would have been really interesting to hear Backbone and Jim Crow go back and forth, as I think they have a lot in common in terms of how they approach their songs and their personal styles. I can dream I guess.

Here's Noz's DF retrospective/overview, though his Cool Breeze piece is lost (forever?).

I never slip, I never fall

So last year, in the wake of Polow Da Don's takeover of pop radio last year, Noz did a quick post on Polow's previous group... Jim Crow. Just let that sit for a while. I remember in high school seeing one video by them, "Holla at a Playa," and I must admit that I kind of liked it. In some ways, I thought the name choice was clever. Just to be clear with anyone who is not familiar with rap, these guys are very clever and want to make an impression so that you continue to follow their musical output. Why else use a "K" in "OutKast," add an "e" to "Pharoahe" or name yourself after Mussolini or Manuel Noriega? These guys are marketing themselves all the time. While you may say, "the music should speak for them," when people have similar styles or are biting your style, you have to stand out in some way. That said, you could make the argument that a Southern rap group called Jim Crow, made of three young black men, is just trying to get by on the provocative nature of their name. That's a fair point, but then why did that one song get stuck in my head? If they're cruising on history, I should just recall every so often that a few dudes from Atlanta had the nerve to name themselves after legalized segregation and oppression. Instead, I have a much more complicated situation: I actually enjoy some of these songs.

There's another issue going on with their name. As we all know, rappers (and really all musical performers) love to perform in character. With a name like Jim Crow, these guys allow themselves to say what could easily be the most offensive, stereotypical, ignorant comments and lyrics that have ever been released for public consumption. Or they could remake songs from "Dumbo." But, as these guys are loosely affiliated with one of the great rap crews ever, the Dungeon Family, what you get instead are just some guys rapping about life in Atlanta. Let me just be clear and say they are nowhere near the level of the Dungeon Family, though they have their moments. Sure, they've made songs with Too $hort about baby mama drama and the nonsense they get into last night, but think about more serious rap groups and their attempts to be lighthearted. Flavor Flav, "Mind Sex," or "Sunshine." All three of these artists are revered by critics for the depth they show on albums while ignoring the aforementioned examples of crap. I think there is something to be said for remaining consistently ignorant for an entire hour. At least when they try to get "DEEP," you find this closer look at the artist engaging as opposed to a cash-in attempt to score women in headwraps.

So what is a rap fan to do? I'm not inclined to reject these guys outright as I don't support censorship and I genuinely find some songs enjoyable (though "Hot Wheels" is a reach). However, simply being a black person who isn't ignorant of the past, oh, (at least, I'm shaky sometimes) 400 years of history, it's really hard to openly admit that I own an album by a group called Jim Crow. Of course, Dick Gregory wrote a book called "Nigger," though I have yet to read. I still get the feeling he tried to get some point across, while Mr. Mo, Polow and Cutty Cartel sound like a Southern Souls of Mischief/Goodie Mob mashup but without the lyrical finesse of each. Basically, I have to keep my enjoyment of their songs to myself... which I just failed to do. At least I'm not in the position Patrick could find himself in if he said to me in public, "Did you hear that new Jim Crow?!!"

Anyway, I somehow found their first album, Crow's Nest from 1999 online and like I said, if you can get past their name (a big "if," I know) it's a pretty good album. The production is pretty tight, though the lone Organized Noize contribution, "Crow 5," is the weakest cut on here in my mind. Odd, since this was a year after Aquemini and right before Stankonia. Obviously, Antwan and Andre get first dibs. Thankfully, they don't try to justify their name choice, as they would have failed miserably at that. Instead, they put together pretty competent raps. They're all jokesters, and Polow's verse on "Throw Some D's" actually borrows from the song "Can We Do This." It's a pretty smooth album, all truth be told, though when thinking about what was coming out of ATL at the time, they sound just ahead of the 2000-2003 DTP/Youngbloodz sound. Had they come out after "Southern Hospitality," maybe they would have blown up. Of course, they also have the name Jim Crow, with a logo to boot.

I know I've managed to offend someone with this post, probably someone I'm related to/knew growing up/Patrick. I also really hope I don't read this later and say "I defended Jim Crow." Well, Noz did it and he's white, so what could be worse?