What? This is what you get when you search for "I spray from far away everybody hit the d-e-c-k". Jesus was gullier than you thought.
It was cute a few years ago when everyone tried to pretend that Houston was taking over hip-hop and that the Houston sound was some kind of a movement. They said that Mike Jones could rap; that Paul Wall was teh awesome; that Chamillionaire was worth your brain cells. This was a time when Little Brother was boring but those hollow synthesizer chords were all so amazing; when rapping about a car over and over and over while chopping off syllables or contorting the words was almost as brilliant as Ulysses. It was a wonderful time that gave us all-time classic albums like...uh...
There were, of course, the occasional songs that worked--the rhyming was tight or the beat was right or the vibe was just fun. I still like Slim Thug's "The Interview" or Z-Ro's "The Mule," for example. But listening to the new UGK album--which is maybe more emblematic of the Port Arthur sound, since lumping it in with so many pieces of disposal plastic seems unfair--I have arrived at a personal revelation: I will just never understand the mystique of Texas hip-hop.
Underground Kingz is a thoroughly solid production showcase, it has its moments of engaging rhyming, and it is a leading contender for Pleasantly Forgettable Album of the Year. Like most double albums, the track list is bloated, and the finished product is diminished by the self-indulgent length, but it's otherwise fine. Though Pimp C's incarceration likely saved us from even more verses that are simultaneously grating and somehow quaint in their mindless profanity and casual vileness, he appears to be in his element as both a rapper and producer. Bun B, whose voice I like a good deal, gets to do his Texas dignitary thing, and it all comes together nicely on an album that I don't yet want to take off my iPod but surely will not put back on once it eventually is retired from steady rotation by some point next month.
But that's where its appeal ends for me, and that's the disconnect. Perhaps I need to be of a certain Texas geography to fully appreciate the endless pimp talk and matter-of-fact drug dealing, or maybe I need to know car enthusiasts who really care about their cars. I don't know what I'd have to do to really get into UGK, but whatever I've done in my 25 years obviously has been insufficient preparation. As I listen to Underground Kingz and consider its music and words, just as I've done with previous UGK albums, I slowly grow bored. Verses like this just don't do much for me:
If you know like I know you would get down on the flo'
I keep a magnum for they back and I keep a swisha full of 'dro
We can get down for my dime and we can fuck, on the low
And if you didn't want a Pimp then what'cha fuckin with me fo'?
Every lady ain't a hoe and every hoe ain't my bitch
It take a real trill nigga to recognize this type of shit
Every girl around me legit, I don't fuck around with no punks
Ride with me she holdin a pistol while I'm whippin and poppin the trunk
We gon' blow a lot of skunk and we gon' make a lot of bread
And we ain't never gon' have no problems 'long as she hear what the fuck I said
Pimpin ain't dead it just moved to the website
Still like to get my dick sucked under the street lights
I'm Tony Snow, I'm out here livin by the code
In love with a lifestyle, not no bitch I'm in that mode
I'm lookin at you you choosin me my dickhead never stop
I'm Pimp C bitch, I'm superstar, we headed to the top
Thank God he's home, right? We needed that.
It's not as though I am trying to be one of those annoying hip-hop heads who insists that a verse has to incite a revolution or pass as an opaque history lesson. Bragging and sexism and posturing and all kinds of other supposedly regrettable content are staples of rap music that I like. I just find this iteration to be empty. The rhyme construction is simple; the verse is loaded with canned jargon; the scattered focus befits a lazy rapper. It just seems like so many other MCs have said such similar stuff in more engaging fashion. Compare this verse to something Raekwon might spit--infinitely more captivating in its dramatization, a Rae rendering would likely be far more memorable and interesting to pick one's way through.
And yet, the overall aesthetic of so many songs on Underground Kingz, replete with the soulful production and distinct verse construction, appears to perfectly match the mood and lifestyle UGK represents and curates. So in that regard, I am again left to think that I simply do not and will not get it.
- UGK, "Underground Kingz"
Meanwhile, I just want to reiterate that I remain unenthused about Lil' Wayne and experience no confusion about it. I get what everyone says--he plays with his voice and he says all kinds of crazy shit and he rhymes like he's plugged into the Matrix and directly absorbing information as it is fed into his brain. I get all that. But all that doesn't compensate for the fact that his voice, though gravelly and theoretically dripping with pathos, remains annoying as fuck. Nor does it make him any less self-aware to the point of contrivance. I think Kanye West is a better rapper; I'd much rather listen to him. His voice is easier on the ears, his routine, though arrogant, is more accessible. Freak out if you want, but with Kanye, so many of his gimmicks connect to a larger whole. Wayne does it too, and quite well at times, but there are also so many verses where he seems to just be rhyming almost recklessly. That, too--the manic urgency--seems to play into his persona and appeal, but it comes off as this wasted verbal energy. Unfairly, I also don't like the low bar from which Wayne benefits by now clearing. I can't help but think that people wouldn't be as breathless in their assessments of dude if he hadn't started out in a hip-hop boy band spitting relative nonsense. He's improved, sure, and radically challenged the old prevailing image forged during the era of Cash Money bling-bling decadence. But now, there's a soft-bigotry-of-low-expectations thing going on with him.
- Kanye West ft. Lil' Wayne, "Barry Bonds"
Finally, let's congratulate 50 Cent. He's still trying to find a way to get his album to sell, putting out crappy single after crappy single. This one will get at least five spins from me, though, as opposed to the two or three that other stuff from Curtis has gotten. Of course, it required that he do his best Ja Rule impersonation, but it's been all downhill since Get Rich, so who's surprised? The rapping blows, but this one will get at least five spins because the beat is modest but sort of hypnotic.
- 50 Cent, "Part-Time Lover"
(P.S. I only have wack-ass Kay Slay's version. Sorry.)
Labels: 50 Cent, Hip-Hop, Kanye West, Lil' Wayne, UGK