[NOTE: This is not a review¹. This is just my initial reaction to what will probably end up being my favorite album of 2011.]

One of the titans of Hip Hop has returned to remind us of the sound of greatness. A living legend, a pioneer, an originator is back. Like Raekwon’s Only Built 4 Cuban Linx, Pt. II, Kool G Rap proves once again that cadence, flow and punchlines always trump bitches, blunts and auto-tune. Riches, Royalty & Respect is a refreshing change of pace in a genre that has become increasingly stagnant and decreasingly relevant. It is a punch in the face of mainstream Hip Hop, a record that makes your head nod and realize that this is what it’s supposed to sound like.

It’s a gut check similar to the Odd Future hype that’s captivated all varieties of Hip Hop fans over the last 12 months. This doesn’t mean Odd Future is anywhere near the level of Kool G Rap. It is only to say that the rebellion against the Hip Hop status quo present in albums like Bastard, Earl and Goblin mirrors the spirit of Riches, Royalty & Respect. They are both unapologetic, unfiltered responses to the formulaic bullshit that dominates rap music today.

They are similar in the sense that they eschew most modern Hip Hop sensibilities in favor of total self-expression. Yet they differ in the means by which they accomplish this expression. Odd Future relies heavily on pageantry and theatrics perfected by artists like Eminem and The Gravediggaz². Kool G Rap employs a style perfected by, well, Kool G Rap himself.

The methods are different, but the response is the same. Whether we are shocked by the nihilistic violence of Odd Future or awed by Kool G Rap’s technical mastery of rhyme, the important thing is we respond. You can’t listen to it and file it away as riding music, or club music or music for the ladies. Hip Hop, and music in general, is an interactive art form. It is meant to evoke visceral reaction—emotionally, mentally, physically.

However, while Odd Future is a reaction to the homogeny of Hip Hop, Kool G Rap is less reaction and more revival—a return to its roots. Riches, Royalty & Respect embodies that classic East Coast sound—the boom bap beats, gritty storytelling and unflinching realism that, 25 years ago, carved out an inimitable space in the soundscape of a young, revolutionary and divisive movement.

This record is one of those rare instances when a collective of beat-makers work together to deliver a cohesive album. More so, they give G Rap a modern context in which to work. This record does not sound dated or throwback-y. It’s current. It’s relevant. It’s 2011.

Hip Hop production has evolved significantly since the days of Ill Street Blues. And G Rap takes full advantage without sounding out of his element. The marriage of rhythm and rhyme is seamless—from the piano arpeggios on Harmony Homicide to the Feist sample³ on The Meaning To Your Love. The ease with which Kool G Rap flows over these beats testifies to the timelessness of Hip Hop. He doesn’t force a transformation to connect with a specific audience. There is no Blueprint 3 type pandering ⁴ going on here. No big name features or $50,000 beats—just straight rhymes. It’s organic, homegrown Hip Hop at its purest.

Perhaps I’m a biased advocate of this album. Kool G Rap birthed the generation of MCs who provided the soundtrack to my childhood—Biggie, Nas, Mobb Deep, RZA, Big Pun. And for that I will always equate his style to my earliest memories of Hip Hop. But regardless of personal feelings, his contributions to the culture are undeniable. His work with DJ Polo and the Juice Crew was part of the foundation that became the iconic New York Hip Hop scene. Road To Riches, Wanted: Dead or Alive, Live and Let Die are all integral parts of the Hip Hop canon. Even Jay-Z, whom some of you⁵ think of as the G.O.A.T., paid homage to Kool G Rap on The Black Album:

Hearing me rap is like hearing G Rap in his prime.

And we should do the same. Sit down, put away your Lil Wayne, your Nicki Minaj and your fucking Pitbull. Buy⁶ Riches, Royalty & Respect and take the time to respect your elders.

So, in the interest of time and with respect to my innate lazy streak, I present to you Lazy Album Reviews: May 2010.

Das Racist - Shut Up, Dude

I’ve been pretty much obsessed with Das Racist since the day this mixtape (which you can download here) dropped. According to my Last.FM page I’ve rocked Shut Up, Dude 77 times. If you haven’t heard Das Racist, you probably still know their single, Combination Pizza Hut & Taco Bell. But please don’t judge them on this track alone. Behind the jokes lie a formidable Brooklyn trio with enough chops to ride a RZA beat to perfection (It’s embedded below, if you don’t believe me). They are informed enough to reference KRS One and Kierkegaard, versatile enough to implement Billy Joel samples and 8-bit glitchery and smart enough to keep you thinking and laughing at the same time. So what’s up with the jokes? I’ll let them explain…

Is it parody, comedy, novelty or scholarly?
A little bit of column A
A little bit of column B

Don Dada

The Army of The Pharaohs - The Unholy Terror

The Unholy Terror is the rawest, most lyrical album I’ve heard since the Slaughterhouse debut. A celebration of punchlines and wordplay, full of old school East Coast bravado, The Army of The Pharaohs will punch you in the face with malice till you admit their greatness. The entire crew is undoubtedly talented. But the voice that shines is Jedi Mind Trick’s Vinnie Paz. Appearing on 11 of the 16 tracks, he destroys each one. His verses alone are worth checking this album out. The opening track is below.

Ian Kamau - Vol. 3: Love and Other Struggles

I love albums like this—understated, intelligent, thoughtful. I stumbled upon Ian Kamau while wasting time on YouTube, where he posted the video for I Love It Here, an ode to his hometown of Toronto. Though Kamau’s delivery isn’t what you’d expect from your standard Hip Hop artist, his lyrics are elegant and fluid. Every word is spoken with an honesty and ease lacking in modern Hip Hop. The album is as cohesive a project as I’ve ever heard. Each track feeds effortlessly into the next, sewn together with snippets of his mother speaking about love. Yet this unity of theme and thought never feels stagnant or boring. The production is varied, sampling Nina Simone, Phantom Planet and even includes a cover of City and Colour’s The Girl, sung completely a cappella. Vol. 3: Love and Other Struggles may not be the best album I’ve heard, but it’s definitely becoming one of my favorites. Check out his YouTube Channel for more videos and to download the album.

The National - High Violet

I’ve been told I have an unhealthy love of The National. Sad Songs For Dirty Lovers is one of my favorite albums of the last 15 years. So I was ecstatic when their latest release, High Violet, finally dropped yesterday. Nearly three years since my last fix of The National, I was ready. I haven’t given it a thorough listen yet, but what I’ve heard has been as fantastic as expected. Matt Berninger continues to deliver impassioned lyrics over a perfectly matched soundscape by the brothers Dessner. High Violet encapsulates the quintessential National sound—deep, engaging, beautiful.

Tobacco - Maniac Meat

I’ve been a fan of Tobacco for a long while. But it wasn’t until he stepped outside the bounds of Black Moth Super Rainbow with his 2008 solo release, Fucked Up Friends, that he really grabbed my attention. That record was the beat tape to end all beat tapes. It had something for everyone—club kids, Hip Hop heads, even those weird electronica guys. Producing a worthy follow-up to that album would be no easy task. Yet with the help of Beck, Maniac Meat does just that. Just as infectious as Fucked Up Friends, Tobacco’s sophomore album adds vocals from Beck on two tracks. Beck’s presence on these tracks cannot be overstated. Fresh Hex (which is embedded below) is the catchiest fucking song I’ve heard this year. The day it was released, I played it on repeat for at least an hour. Maniac Meat offers us a fresh sound that is still uniquely Tobacco. If you’re a fan of synths, cracked-out beats, Beck, Black Moth Super Rainbow or Tobacco in general, this album is a must listen.

What can one man do with two hands, a bass drum, snare, hi-hat, guitar, crazy fucking mask (a la MF DOOM) and a telephone receiver? If that one man is Gull, he can make one bad ass record. Using his left hand to play the guitar, his right hand on the drums and singing through a telephone receiver hidden behind his mask, Nathaniel Rappole (aka Gull) is truly a one-man band.

He’s has earned nice following in his hometown of Richmond, Virginia through his impromptu street performances and by blowing audiences away with his live shows. Equally virtuosic with his guitar and behind the drum set, his do-it-yourself approach doesn’t come off as gimmicky—it feels authentic, as if it was exactly what he was put here to do. His beats are infectious, imploring you to move. And the grooves he one-hands on the guitar are so intricate in places most guitarists wouldn’t attempt them with both hands.

If you read sexy gypsy on the regular, you know I put a lot of stock into creativity and innovation. And I can truly say, this is one of the most original artists I’ve ever heard. I strongly encourage you to check this guy out. You can buy his 7-inch, The Thin King at the Molsook Records site. Props to Ongakabaka for their post earlier today, which brought this to my attention.

Check out the videos below to see Gull in action.

Videos

This is another Adult Swim/Cartoon Network release. I first heard about this album during an episode of The Boondocks. At first, it sounds like southern rap at its best; superchill, smooth beats and laid back rhymes. It’s much in the vein of Outkast’s classic, Southernplayalisticcadillacmuzik. But as you delve deeper into the album, Witchdoctor’s skill becomes more evident. The Diary of an American Witchdoctor is more than just a filler, a stop-gap for one of Dungeon Family’s less commercially succesful members. It’s an incredibly intelligent album, one that reminds us of the true essence of hip hop. It’s just a shame artists like Witchdoctor, don’t get the same love as inferior southern hip hop “artists” like Flo Rida (I fucking hate that guy. It’s FLORIDA, you illiterate FUCK.)

This is my favorite track on the album, The Barrel (featuring The Wheeler Boys).

I saw this movie a few days ago and was immediately impressed by the soundtrack. I’d never really listened to British Hip-Hop, except for The Streets. But everything I heard in Kidulthood was fucking raw and I’ve been bumping the soundtrack all week. Be sure to check out the movie and its sequel Adulthood as well.

Zoe Keating - One Cell x 16: Natoma

I heard about Zoe Keating through Twitter, from@bcompton. It’s an amazing album. If you’re into Neo-Classical music at all, definitely check her out. By the way, I’m slowly learning that Twitter is a great way to hear about new music or anything else for that matter. You can follow me on here.

DJ Shadow - Endtroducing…

This is probably the best album from one of best DJs and Trip Hop pioneers of all time. It’s hard to believe its been twelve years since this album dropped. If you haven’t heard it; stop reading. Leave your home. Buy it now.

Wu-Tang Clan - Soundtracks From The Shaolin Temple

Great compilation album from the Wu-Tang Family, featuring Jedi Mind Tricks and many others.

DJ Muggs/GZA - Grandmasters

Arguably the best lyricist to come outta Shaolin and DJ Muggs from Cypress Hill team up for Grandmasters. Muggs and GZA both bring their unique and immediately identifiable styles to this record. If you’re a fan of either of these guys, you’ll love it. It reminds me of DJ Muggs’ 1997 release, Soul Assassins Chapter 1, one of my favorite mixtapes.

Gravediggaz - 6 Feet Deep

Yet another Wu-Tang affiliate on my list this week. I love their dark lyrics and aggressive delivery. It’s like rap for metal fans.