(Today's Reader
Review comes from frequent contributor Taylor, who takes a trip down
to Texas to discuss Houston native Z-Ro's eighth (seriously?) album,
The Life Of Joseph W. McVey. Leave your thoughts for him in the
comments.)
Hey kids! Any of
you ever heard of Z-Ro? Houston rapper, released a ton of albums?
No?
Well I shouldn't be surprised; he's one of the most underrated
rappers out there. Despite releasing around fifteen albums and being
one of the original members of the influential Screwed Up Click, his
name doesn't often come up in hip hop circles: hell, I first found
out about him when I was browsing through Wikipedia. I still don't
know why I somehow got my hands on Z-Ro vs. the World (which was the
first album from him that I bought); maybe the cover interested me or
something, I don't know, but I was pleasantly pleased with what I
heard.
Z-Ro
has lived a tough life: with his mother dying when he was only six
years old, he moved from household to household in search of
stability, turning to hustling and selling drugs in order to survive.
Apparently, listening to music from the likes of 2Pac, K-Rino and
the Geto Boys inspired him to work harder, even giving him the idea
that he may even someday leave the cold, hard streets of the ghetto,
which he may or may not have done, depending on how successful you
believe that he has been in his career. I won't judge about whether
or not the music he was listening to was actually any good, but I
will say that every artist has to start somewhere, and those artists,
among others I'm sure, inspired him to hustle his way to a deal with
an independent label, which then turned into a deal with major player
Rap-A-Lot Records, which brings us to today's post.
I'm
skipping ahead to Z-Ro's major label debut, The Life of Joseph W.McVey, which came out around six years after he released his debut.
Many assumed this would be his big break, and although it didn't fare
as well as expected sales-wise (of the two or three singles released,
only one of them hit the Billboard charts: you'll find out which one
it was during the review), Z-Ro was exposed to a much larger
audience. Whether or not that audience sought out his previous
efforts I don't know, but at least people now recognize his name.
So
was The Life Of Joseph W. McVey
good enough to justify the exposure? We'll see.
1. ON MY GRIND
Oh
look, it's a rap album introduction. But this one has Z-Ro actually
rapping on it, so now I'm confused. The Leroy Williams beat behind it
was good, and Z-Ro introduces himself to his audience effectively,
spitting his rhymes as though his life depended on it. You can
definitely hear this influences, and yet he manages to creates his
own style. The only problem is that it ends in the midst of Z-Ro's
second verse. Why would you ever do that? What the fuck?
2. Z-RO
This
self-titled song certainly has more of a Houston sound, which is
good. This track serves as a decent example of one of the city's
signature styles: I like the brash, in-your-face, Southern
drum-heavy nature of it all, as our host uses the time allotted to
tell his listeners who he is, what he stands for, and what he'll do
to you if you get close to him, even managing to work in some decent
imagery throughout. However; while I did like this song, you liking
it is wholly dependent on whether or not you enjoy songs like this.
Don't get me wrong: it's not a bad song, but your mileage may vary.
3. THESE N----Z
(FEAT. SCARFACE)
Z-Ro
and Scarface together should be a force to be reckoned with, but
they don't really mix all that well on here. Granted, it does have
the perfect instrumental (again credited to Leroy Williams), one that
mixes Southern creep with mafioso, a really great chorus, and rhymes
from both of our hosts that more than deliver. But there appears to
be something missing. I know, it's hard to explain this when our
host is spitting lines like “I gave you a chance to eat, but you
chose to bite the hand that fed / You took your shit n---a, lay in
your bed” and “Out of proportion, kicking they doors in trying
to find 'em / But I'm above em and behind em, killing em slow with
perfect timing”, but still. In no way should the above statement
imply that this song sucks; I just feel it could have been so much
more.
4. KING OF THE
GHETTO
More
slickly produced then the last few tracks. Z-Ro rips through his
street tales in a congruent matter over a beat that combines
synthesizers, a live bass guitar and heavy Southern drums, switching
styles every so often from pseudo-storytelling to speed-rapping. The
way he easily transitions adds to the track manages to give credence
to the title Z-Ro has attached to himself. Even if you're not a fan
of Houston rap, you definitely have to listen to this track.
5. II MANY N----Z
I
mentioned this above, but it seems like the tracks on this project
are much more slickly produced than those of its predecessors, and
those predecessors contained the hardcore Houston sound that only an
in independent underground rapper could produce. (See Z-Ro vs. The
World for some clarification.) This isn't a bad thing, but it merits a
mention just because of how different this album is. Anyways, songs
about how enemies are going to come after the top dog are common in
hip hop, and those songs are going to be either good or bad with no
gray area: in the case of Z-Ro, he manages to make the material
entertaining. The Solo beat may be more suited for a song about
reflection, but the soulful nature of it, combined with the the
subject matter, mesh like peanut butter and jelly. Z-Ro manages to
mix in braggadocio with some personal thoughts and doubts in a way
that's effective, reminiscing about old friends, his mortality, and
his lot in life in a fashion that helps the track out immensely. I
doubt that the rhymes alone would succeed if they were placed on a
different song; without that beat, it just wouldn't have the same
impact, and when the rhymes are essential to the track itself, that's
when you know a song is a classic. A must listen.
6. I HATE U BITCH
This
was the only song from the album to make Billboard's Hot R&B /
Hip Hop Singles chart (it reached number seventy-five out of one
hundred). I can see how this could have been a minor hit, as it
mixes Houston flavor with the sensibilities of a smooth love song,
even including Z-Ro actually singing during some points. It does
seem to have been created especially for radio consumption, but our
host doesn't change up his overall attitude for a possible mainstream
audience: this ode to a bitch who he thought he wouldn't end up
hating is just another in the long line of songs he has in his
catalog about similar bitches. The song feels like it carries much
more soul, giving it more weight than any song dedicated to a bitch
should. A great song for the radio, I suppose, but when it's
compared to the rest of the album, it's just a decent track.
7. HEY LIL MAMA
Having
a song where Z-Ro tries to attract a “lil mama” immediately after
a track where he refers to an anonymous girl as a bitch is
questionable under any circumstances, but I can understand what he
was trying to do. In any case, this song works well for what it's
trying to be, which is Z-Ro's ode to an unknown female who he wants
to love and probably fuck in a hotel room later on this evening.
There isn't anything on here to elevate the song to the level of the
best work on The Life Of Joseph W.McVey, though. There are some high points, though: the beat
is soothing, and Z-Ro's rhymes are as serene as they are detailed.
This is an enjoyable song, though, and I appreciate artists who at
least try to do something unique with their albums.
8. SO MUCH
Personally
I like the song: I've always loved how the guitar-tinged beat works
in a soulful Houston mood, and I think “So Much” contains the
perfect combination of rhymes switching between braggadocio and
confusion (which seems to be a running theme in this album).
However, critically speaking, it sounds like it was created
specifically for radio airplay as opposed to it being something
written for The Life Of Joseph W.McVey, and that hurts its standing for me, since it's obvious
to me that this was intended to be a single (and probably is, for all
I know). That said, I wouldn't turn the radio dial if I heard it
playing., and it does fit the mood Z-Ro was ultimately going for with
this project.
9. THAT'Z WHO I AM
(FEAT. TRAE)
This
has always sounded too much like “I Hate U Bitch” for me, despite
its differing beat and subject matter. This is the first real
misstep of the evening: the Mr. Lee beat is the ultimate undoing of
the song, ruining what is supposed to be Z-Ro's ode to himself. It
also doesn't help that this instrumental is the most uninspired of
the bunch, lacking anything distinctive that helped make the other
songs what they are. I will note that Z-Ro's 2Pac influences come out
in full force, as certain verses do sound as though Pac himself had
risen from the grave just to spit some bars on a track that doesn't
even belong to him.
10. EVERYDAY (FEAT.
TRAE)
The
Mr. Lee beat here is a serious departure than what we've heard thus
far. Not to say that it's bad, but after track after track of songs
with similar musical backing, it's definitely a seismic shift. Our
host's heartfelt rhymes mesh well with the beat, and he seems
confident over this guitar-laced concoction.
11. CROOKED OFFICER
This
is obviously Z-Ro's ode to the corrupt police in Houston. While the
piano-laced beat is fitting, there isn't anything that sets this
track apart from similar odes to corrupt cops from Los Angeles, New
York City, or even Seattle. Our host's rhymes ring true, but he
doesn't do anything for this song to stand out from the pack.
12. WHY? (FEAT.
TANYA HERRON)
The
question asked since the dawn of time, and answered the same way
every time: I don't know! The mandatory “reflective” song of the
album holds up well: the instrumental is decent, and the deeply
personal rhymes are above average. However, you may find it hard to
sit through this song in one sitting without falling asleep. Z-Ro's
2Pac's influences reappear here and are more obvious than ever; in
fact, if you placed this track on a posthumous Pac project and
tweaked the vocals just a bit, people would believe that this was an
actual 2Pac performance. Not that I think anyone should do that, but
the influence is unavoidable.
13. HAPPY FEELINGZ
Z-Ro
closes the album in a much more positive manner than we've come to
expect, The beat may be slickly produced, but it's very fitting to
the subject matter, and it's definitely holds your interest
throughout the running time. If you listen closely to the lyrics,
you'll hear him give away some of his backstory regarding his family
life, which definitely reinforces how he puts a lot of heart into his
lyrics. All in all, a good end to end an album.
That's
not all folks; two bonus tracks follow after the end of our main
presentation.
14. Z-RO (SCREWED)
The
intro of this song dedicates this conclusion to the album (made up of
two songs) to the late DJ Screw, so, obviously, it's going to involve
chopping and screwing songs, as that is what DJ Screw was best known
for doing. Personally, I'm not a big fan of these types of mixes,
but I do appreciate how this style puts the spotlight back on the
lyrics. (Not that most fans of this style would notice, since it's
also favorable to listen to chopped-and-screwed songs while high.)
“Z-Ro” is not the song I would have selected to mix in this
fashion, but it's a good fit nonetheless. This is a good starting
point if you want to get in on the chopped and screwed phenomenon,
and as a plus, it does reveal some lyrical gems that you may have
missed if you were sitting through the regular version, one in
particular being, “I hate the world, is the kind of attitude I got
/ But I could justify reasons, for any dude I shot”.
15. II MANY N----Z
(SCREWED)
This
is a better song to give the chopped & screwed treatment to, as
it showcases the potential of the style as a whole. This is more
enjoyable than the previous bonus track, and it contains even more
lyrical gems. However, this ultimately isn't my cup of tea.
FINAL
THOUGHTS: Houston hip hop is
an acquired taste, much like
the music from Memphis and from everywhere else that you're not
already familiar
with. However, a lot of The Life Of Joseph W. McVey does not
require any prerequisites. In fact, a lot of this could even be
described as “accessible”.
Regardless of whether or not you get Houston hip hop, this album is
great.
On his mainstream debut, Z-Ro gives it everything he's got,
delivering truthful, heartfelt rhymes with an edge. A lot of the
production is top notch, and more often then not it meshes
well with Z-Ro's voice. As expected, there are some missteps, but if
you're interested in getting into Z-Ro's body of work, The Life Of Joseph W. McVey is a pretty good place to start from. Be forewarned,
though: his early work sounds nothing like this project.
BUY
OR BURN? By all means, buy this: most of the album is consistently entertaining, and your
money will be put to good
use.
BEST
TRACKS: “King of the
Ghetto”; “II
Many N----z”; “Happy
Feelinz”; “So
Much” (despite
my complaints about its radio-friendliness)
-Taylor
(Questions?
Comments? Concerns? Leave your thoughts below.)
I've been meaning to listen to Z-Ro...especially after i heard him destroy Freddie Gibbs on Baby Face Killa.
ReplyDeleteSomeone explain chopping and screwing. Is it just speeding up/slowing down/pitching up and down songs? .... "Wooooooooooooow." Someone made a whole carer out of doing what every kid who ever used Adobe Audition -- or Cool Edit Pro, Cakewalk, Goldwave, or hell some features on fucking Sound Recorder -- did in the first minutes of using it? Ugh. Fucking ridiculous.
ReplyDeleteYa slow it down, throw on some effects and some well timed scratching (that's the chopping part). Down some codeine and you got a tune. I'm not in love with chopped and screwed, but done right it can be pretty cool. Plus I thinks it's been pretty influential as of late.
DeleteIt also involves chopping up different parts of the song, maybe replaying parts, scratching it up in areas, and often adding different sound effects. It can actually take a lot of work to get it right, but the style isn't for everyone.
Deletei think its supposed to emulate the slowed (i guess?) effects of purple. or purple drank. or sizzurp. or lean. or syrup. whatever you want to call it
ReplyDeleteGet Guerilla Maab's "Rise", this is where he started (alongside Trae, amongst other members)
ReplyDeleteAlso listen to this http://www.youtube.com/watch?v=3bAkoqwGQEI
I listen to Houston's music and I love it I give credit where credit's due and I believe the artist in houston should continue to do what they love and that's make music
ReplyDelete