So, I've mentioned many (many) times on here, often in (sometimes snide) off-handed remarks, that I think very (very) highly of the album Reasonable Doubt by Jay-Z. The natural follow up question would be, "Why?"
If you even remotely know me, you'll know that I often and readily complain about pop music. While I think there can be decent arguments made in defense of it (and the stuff often makes fantastic character studies, as you'll see soon enough), I think most of it (if not all of it) is the industry and often artists trying to cash in on a quick buck. This is particular true for rap music. For a genre that was born out of the really screwed up black experience starting back towards the 70s, it was not a genre that should have gone commercial so soon.
While Rock 'n' Roll (amongst other genres) were able to articulate (initially) uncomfortable human experiences and taboo emotions in a relatively safe, artistically healthy, and (often) sane way, rap has taken all the gritty and uncomfortable aspects of (majoridly) black life in America - you could make an argument for just referring to it as urban life these days, though that notion steals away some importance from the origins of what birthed this monstrosity - for the past 4 decades and blasts it in defiance, realized it can capitalize off of it, and, in a mix of the mentality of getting out any way you can and honest gusto, twisted and convoluted the stereotypes that came to frame the genre and cemented them. Again, fascinating to study, not so good in terms of being an art-form.
That's why something life "Airplanes" by B.o.B. feat. Haylay Williams or even "Billionaire" by Travie McCoy feat. Bruno Mars (even though the honest reciting of the mental effect of being starved of monetary value on the latter song does honestly annoy the Hell out of me) are welcome changes to the scene of rap. After all, the genre was built off of sampling music.
To quote No Good Advice, "after all, techno was invented by escapist black kids in Detroit who were obsessed with Kraftwerk, and disco bands like Chic (as if the name wasn't enough of a clue) based their aesthetic on a Roxy Music-derived euro-penthouse cool a million miles removed from '70s funk. Disco evolved into house, and early hip-hop went from sampling Chic to assimilating European synthpop and inventing electro. Only in the late '80s did acts like Boogie Down Productions, Eric B & Rakim and Public Enemy transform hip-hop's sonic palette by dropping the more synthetic elements in favour of samples from pre-disco funk, particularly James Brown."
That rap might sample rock or use rock influences only recalls back the (rather thin and in the past) connection they have from being birthed out of the conglomerate of many jazz influenced genres, of which include funk (Jimi Hendrix, anyone?).
However, as No Good Advice also (rather well) points out both here and here, recent pandering to both rock and Euro-pop/dance influences seem to be, once again, intents to just sell as much as possible and appeal to as large an audience as possible. I've considered, quite seriously, of using the phrase Artistry is Dead for the past decade. Leastwise, it seems, when it comes to commercial rap.
There's a reason some rap-heads get caught in a certain time frame. In the 90s, they were complaining that rap had died and it should go back to the 70s/early 80s. The entire past decade, we've wondered what happened to Hip Hop's golden age and why we can't go back to the 90s.
And, admittedly, rap for me still is turn-tablism/sampling and lyricism (flow, wordplay, and rhyme) - gritty production and sparse sampling. But the sampling has changed; that's fine, even to be expected. I don't want to mire the genre. Better production or sampling outside of jazz/funk is not going to make me say that it isn't Hip Hop or bad rap. But, while the production towards the end of this decade has shot utterly up in quality (it had to - that's how they sell), I have yet to get any decent lyricism. Leastwise, not to an astounding extent. And, I mean, the production has been good. Kanye almost never ceases to amaze on that end and, while I dislike the song, the production on "What You Say" by Jason Derulo is enough to make my legs go weak.
But, I'm a Hip Hop purist. I want lyrics. I grew up off of underground Detroit rap. I grew up listening to freestyles done in random radio studios in low-lo-def quality. I've listened, readily, to tracks with so much noise that you can barely make out the mc.
At the end of the day, I breath lyricism. Often times, a track (that has a heavy beat/percussion) without sufficient rap over it won't cut it for me. I almost wanted to personally thank Kanye at the beginning of "Good Morning" because he had finally used multi-syllabic rhyme out of all the songs I had listened to of him at the time (it was like, "Please, do something relatively lyrical!!").
As you might guess, I love the Hip Hop culture (and how rap fits into that). But I'm not above calling out its flaws. That's part of the reason I do find myself often looking for alternative rap. I just want good rap, even if that rap has ventured into new places so that only the roots are still present (much like jazz and funk did with the blues, only less so).
So, while I love 90s rap...I can't just straight up say that it's satisfying.
"Juicy" by the Notorious B. I. G. is a great song...but ultimately it's the basic rags to riches story. Admittedly, I love (rather guiltily) "Got a Story to Tell" and it's a fantastic demonstration of a minimalist beat and the power of story telling and delivery in rap. But it also furthers the black-on-black harm so prevalent (and socially ingrained) in the black community and the way that it continually diverts attention away from the real problems that could be dealt with.
"N. Y. State of Mind" offers one of the best phrases out of rap (I still have a hard time thinking it's not some common saying made up a longer time ago) - I never sleep, 'cause sleep is the cousin of death. Plus "Never put me in your box if your shit eats taps" remains one of my favorite (and best delivered) punchlines ever. Not to mention the production is defining, iconic, and to die for. But beyond that...damn it, I just can't get into this song. The description of the shoot out always seemed corny to me and the album as a whole doesn't seem to tell me anything or give me any useful character insight. It's a vague description of a poorly defined immature youth that doesn't give me any sympathy for him. Maybe they were right in that you couldn't understand it unless you lived it - but I still don't see how that's not a flaw in the album.
Sure, "Dear Mama" by 2Pac is a touching song. But this is also the same guy who proclaimed so loudly "M.O.B. - Money Over Bitches 'cause they breath envy" along with many other equally questionable lyrics.
And, yes, The Chronic articulated the culture at a time when no one was listening - it's lyrics are still utterly ugly.
Now, I'm being cursory. I've never believed in so black and white of arguments. But, for being cursory, this is accurate (of the stuff I've mentioned). Hip Hop had an amazing ability to bring out important aspects - without ever resolutely dealing with them. My brother recently showed me rapgenius.com. And it actually has had me gain slight more respect for artists such as Lil' Wayne. But I still stand by my previous statement.
So...why Reasonable Doubt? It's the only album that provides lyricism and a greater sense of subject mater that resolutely deals with itself rather than seeming to be a spewing of streaming consciousness laid out on a track.
Not to say that hasn't been done before. "Somebody's Gotta Die" by Biggie is a perfect song, as far as I'm concerned. While not necessarily preachy or with a sense of preaching, it details the situation with realism (and beautiful story telling) while keeping the cold facts of reality in the picture (i.e. yes, violence opens up many possibilities and opportunities - but you're not the only one living in this world and others will be affected); this was what seemed to have fallen out of the picture on "Niggas Bleed".
Which isn't to say Reasonable Doubt is a perfect album either. Admittedly, I'm still trying to wrap my head around how Jay ever though "Cashmere Thoughts" ever fit on an album about hustling. Yet, outside of two songs, Reasonable Doubt presents an album that acutely focuses around a topic and, through the tracks, examines and assesses this topic through what seems like a very solid and singular character. It's a fascinating personality study that has so many aspects that seem so utterly intended so aware that I have a hard time thinking that much of this album could have been done on accident. And, really, this is mostly clearly illustrated on "Feelin' It".
"Feelin' It" is the track I give to people who I want to hook into the album (or just rap in general). Backed by the smoothest piano loop possibly ever, it sounds just gorgeous and catchy, complimented by a hook by Mecca that just tops it off. It's a clear demonstration of sampling back in the 90s and the essential origin of rap, yet it doesn't have the still blatant evident sound that it is only one piano snippet looped over and over (unlike "D'evils", which sounds like it was picked freshly off a record, with the scratching and all). In fact, for the longest time, I even thought it had accompaniment melodies until I really listened to it. Yet it's not as seamless and complex as "Can I Live". Beautiful Hip Hop still evident, from a purely physical level.
And, with such an instrumental, it sounds like it should be nothing but bragging. Rather foolishly, on my review of Reasonable Doubt, I said that's all it was. It feels good, doing it's basic task really well. Not much wordplay, but the flow is righton (and incredibly hard to imitate). Plus his delivery, the enthusiasms in his voice, are all perfect. Not to mention it's some of the most intricate rhyme-wise that Jay ever gets. It does the job.
How deceptive.
Surely, it is bragging. It starts in the first bar, notably, "Crystals on ice; I like to toast, I keep on spilling it." The decadence is clear, as he actually brags about how tipsy he is. The most offensive line of the song comes with, "Transactions illegitimate 'cause life is still a bitch/And then you die - but for now, life, close your eyes and feel this dick..." Yet, his character is so firmly planted there. The delivery is perfect - he almost pulls it off so that it sounds like a classy and cool comeback.
Admittedly, it's the addition of the alliterative, almost fast-paced rhyme that makes it so damn catchy. Just listen to this:
Since diapers, had nothing to live for like them lifers but
Making sure every nigga stay rich within my cipher
We paid the price to circle us, success - they turned my mic up
I'm about to hit these niggas with some shit that'll light they life up
If every nigga in your clique is rich, your clique is rugged
Nobody will fall cause everyone will be each others crutches
On its own, it's not all too impressive. Admittedly, there's something to like about a confidence so large that you think you can enlighten another's life ("I'm about to hit these niggas with some shit that'll light they life up"). And the crutches line is barely ingenious, maybe a clever spur-of-the-moment quip. But backed with his delivery and the seductive rhyme, you can't help but enjoy it (I mean, listen to that rhyme! "that'll light they life up" Oh, that's so delicious...). Again, he has the gall to claim the ability to provide enlightenment ("I hope you fools choose to listen; I drop jewels, bust it/These are the rules I follow in my life: you gotta love it"). And then you can't help but smile at the last bar:
Jiggy-jigga looking gully in the joint
If y'all niggas ain't talking bout large money, what's the point?
Even if it's just rhyming shit several times, the vocab and choice of words here is immaculate for every section of the verse. The use of gully and then the confident quip of confidence at the end continue to be addicting. Admittedly, this is well done bravado, artistically well done (even if not escaping the offenses that bravado can bring). It's not the blunt, often uninventive stuff you often hear now. There's definite talent being employed here.
The second verse continues the absurd over-confidence with "Even if it ain't sunny - hey, I ain't complainin'/I'm in the rain, doing a buck 40, hydroplanin'" (I said to my brother once, and I repeat now, "hydroplaning"? Who rhymes that??).
And almost as another blatant show of confidence, he pulls off using "shit" several times in a row on the ending, stressed rhyme:
Ya feelin' it? To all the girls that bought a girdle to conceal my bricks
No doubt, they can vouch, my life is real as shit
95 South and Papi on the Hill and shit
And all the towns like Cambridge that I killed with shit
And all the thorough-ass niggas that I hustle with
Throw your joints in the air one time and bust your shit
These fake rappers can't really know I'm lovin' it; ya feelin' it?
Yet notice that last line. They can't know that he's really loving it? Since when, once, in this song did he lead us to think otherwise? In fact, he's made it seem like the totally best thing in the world! From being able to drink Crystal until you can't stand up straight, to being as real as it gets with all the illegal activity - I thought he was living the life, right??
Enter the third verse. Interestingly enough, of all things, he bring up his mother: "I keep it tight for all the nights my momma prayed I'd stop/Said she had dreams that snipers hit me with a fatal shot". Yet he brushes it off immediately with, "Those nightmares, ma..." And yet, he immediately contradicts his claims that there's no reason to worry with, "Those dreams that you say you've got - give me the chills/But these mils, well, they make me hot. Y'all feel me". But I don't think we do at this point. That statement of "Y'all feel me" sounds more like a weak attempt at reassurance.
And notice that. For a character who was confidently telling us what to believe, what we should do in terms of him, he's now asking us for reassurance. It's not a demand anymore - it's seeking confirmation. His statement are no longer (really) rhetorical, though he might be trying to pass them off as such.
And then the interesting line - "Enough to stop the illin', right?" I personally think he's referencing a desire to turn to drugs. Yet the connotation is clearly negative here. Illin' is now being used as a negative phrase, a desire for drugs, acknowledging that they hurt your body. And yet the irony is delightfully there - usually illin' is used as a slang for "killin' it" or something of that nature. Or you're "ill" if you have tons of money. But this line is immediately followed by "But at the same time these dimes keep me feelin' tight". Sounds a little confusing, right? He agrees. This is immediately followed by this almost diminished, "I'm so confused..."
Wait, hold up? What happened to our ridiculously pompous and confident individual? The confidence is completely gone. The character is confused, backtracking over what he's said and retracting statement. If you want anymore evidence, look at the next bar: "Okay, I'm getting weeded now: I know I'm contradicting myself/Look, I don't need that now". He seems paranoid (which might make sense, seeing as that line is followed by: "It's just once in a blue moon when there's nothing to do...and/The tension gets too thick for my sober mind to cut through").
When I first noticed this, it seemed far too important a distinction to let go. I mean, think about it. We're used to rap by now. We're used to the notion of bragging and saying you're the best. We're used to singles (this was a single when the album came out) being used to generate buzz and fitting a certain format. In fact, clearly Jay did, seeing as the clean (e.g. censored) version of the song actually has a completely different ending. Without spoiling too much in the next paragraph, let's just say that the fantasy he dreams about is presented as real in the clean version. And that's significant! Even he knows that won't sell. You have to be determined to put this in here and you have to be aware that you are completely undermining the very instrumental and hook that you're using.Are you feelin' it...I'm actually calling into question entirely what I've just bragged about. Umm, what? Most radio listeners don't like introspective (leastwise, not too much) characters. They want it nice and easy, black and white.
But it gets better. After puffing some weed, Jay gets
...to zonin': me and this chick on the L and then we're bonin'
I free my mind; sometimes I hear myself moanin'
Take one more toke and I leave that weed alone, man
It's got me goin'! Shit...
Whoa. Did he just admit to masturbating to himself while high? Mr. "hit these niggas with some shit that'll light they life up"? I don't think that's what they had in mind, Jay.
And that's the beauty of the track. It builds up this overly confident, borderline unlikable character - just to utterly rip him down. That's the life? Masturbating in your room alone, dreaming about a girl because of the stress? I particularly love (and, of course, his delivery of) the line, "I free my mind; sometimes I hear myself moanin'". It perfectly catches that emotion notion - that idea of accessing his own emotions. He frees his mind and sometimes he can hear himself moaning. It's an eerie image. But it notes that he's hiding from his own activity. And yet, that activity is the only recognition of his own feelings (when he's, otherwise, pretending life is just peachy for everyone else). He's hiding from it but at the same time he sounds like he's looking for it, trying to find it. It's ambivilent.
And it's such miniscule details like that that make this track so delightful. And, in its own way, it captures it all. If you wanted a track which got at the reality of black life (in this case, hustling drugs), this is the type of track that does it well. That "feel this dick" line doesn't sound so harsh to our sensibilites because we know it's a cover up, a show. We're allowed the bravado while really getting to the inside of the character and understanding him, given the reality with the fiction.
Complex, artistic, perfectly executed and well done, plus musically sound - THAT is what rap should be. Screw that commercial junk.
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