(Today's
Reader Review comes from Standos, who wrote about West Coast duo Low
Profile's debut (and only) album, We're In This Together. Low
Profile is considered a footnote in the hip hop history books today
merely because Cali stalwart WC was a part of the duo. Leave your
thoughts for Standos below.)
Low Profile is a duo
made up of West Coast veteran WC (of Maad Circle and Westside
Connection fame) and his partner, DJ Aladdin, who would go on to
produce for Ice-T and Lord Finesse, of all people, before pursuing a
career in visual art. The easiest way for me to describe Low Profile
is by calling them the West Coast version of Lord Finesse
(coincidence?) & DJ Mike Smooth. But before the inevitable
barrage of comments claiming that WC is a better rapper than Finesse
or vice versa come in, just know that I’m not comparing the two
emcees and their respective levels of skill: it’s just the fact
that both duos broke up as soon as their debut albums dropped, and
both rappers of each group went on to become legends while their
deejays faded into anonymity.
The real star Low
Profile's lone album, We're In This Together, is obviously WC, who is
generally considered a West Coast legend (and if not, that had better
fucking change). I’ll admit, up until discovering this a few months
ago, I had no clue that the mighty WC was actually in a group before
his Maad Circle days. WC’s been around for quite a while, releasing
his first single with Low Profile in 1987 before dropping We’re In This Together two years later, with production provided by DJ
Aladdin.
However, unlike Lord
Finesse's Funky Technician, We’re In This Together contained no
guest appearances, which is strange considering WC and Aladdin were
already hanging out with the likes of Ice-T at the time.
Nevertheless, Low Profile’s debut album is probably one of the most
lesser-known West Coast albums to come out of the late 1980’s, and
it didn’t really sell all that well, probably because it was
released right after N.W.A.'s seminal Straight Outta Compton, an era
when everything that wasn't straight gangsta rap was bound to go unnoticed.
Here’s WC’s
official debut.
1. FUNKY SONG
Whoever did the
sequencing for We’re In This Together deserves a fucking medal for
putting this song first. DJ Aladdin’s beat instantly takes you back
to 1989, a time where most all hip hop music released was actually
good (there were better quality control standards back in those
days), and this song is certainly no exception, using a string sample
from Jackie Robinson’s “Pussyfooter”, of all things, to great
effect, making the song sound…well, funky. WC raps like he was
starving his entire life right up until now, and as a result, rips
this beat the fuck apart, lyrically destroying all of Low Profile’s
imaginary foes. Everything about this song is essential; even the
scratches seem mandatory when you try to imagine “Funky Song”
without them on the chorus.
2. THAT’S Y THEY
DO IT
The start of this
song is kind of shitty: I’ve always imagined it as a low-budget,
faster version of the instrumental to Ice Cube’s “You Can’t
Fade Me” (which is by far the better track). Aladdin’s
instrumental does eventually get better, although it still seems kind
of ordinary. WC’s lyrics, however, are pretty damn excellent: he
sounds pretty damn convinced that young kids today are fucked up (and
that phrase has lost no relevance over the years). Not as good as
“Funky Song”, but still a decent effort nonetheless.
3. PAID YA DUES
I’m not sure which
Low Profile single was more popular, “Funky Song” or this track.
Rocking the same sample as The Pharcyde’s “4 Better Or 4 Worse”
(you know, the song featuring that one Fatlip performance everyone
remembers), WC shifts his focus from drug dealers and crackheads to
up-and-coming rappers who “ain’t paid dues”. This song is
certainly a product of his time: during the third verse, WC seems to
imply that real tight jeans and leather jackets (so is that like a
subtle dis to Run-DMC or…?) aren't clothes that a straight man
would wear, but nowadays it’s a growing trend in hip hop to wear
that shit. Nevertheless, I remember liking this song, and nothing’s
changed. I especially liked that bit during the third verse where WC
details the transformation of a mama’s boy into a wannabe gangster.
4. EASY MONEY
To appease that one
guy who thinks I sound too much like Max: Meh.
5. KEEP ‘EM
FLOWIN
WC’s flow is
Raekwon-sleepy on here, but I’m guessing that’s intentional, as
it kind of suits Aladdin’s smooth-flowing beat, going through
dismissal of wack rappers on the radio and other subjects covered to
a large extent by just about every rapper who emerged in the late
1980’s. The instrumental isn’t anything special, but just like
some of the beats of Ras Kass’s Soul On Ice, it serves its purpose
in staying out of the way of WC’s lyrics. Which, to be honest,
weren’t as quotable as on “Paid Ya Dues” or “Funky Song”,
but still.
6. ALADDIN’S ON A
RAMPAGE
Upon first glance at
the title, you would assumed this was a deejay cut and would probably
have skipped it (don’t pretend that you wouldn't have). I actually
almost did that, since deejay cuts aren't my thing (except for the
one on Gang Starr's No More Mr. Nice Guy). However, WC pulls a fast
one and throws in three verses onto a rather in-your-face,
hard-hitting (at least when compared to the last track) instrumental.
Aladdin uses samples from just about every hip-hop song that had ever
been released up until 1989 to compliment WC’s verses, which can
seem distracting at first but is something you slowly get used to.
This was actually pretty nice.
7. HOW YA LIVIN’
This one is
essentially another public service announcement by WC, but is much
more effective due to a better beat, using a sax sample from “Soul
Power 74” by legendary saxophonist Maceo Parker. WC goes back to
targeting drug users and the like, but also goes after those involved
in gang violence. The third verse, once again, is the most
interesting, with WC detailing the life of a drug addict named Booby,
whose mother must have been on drugs to write that fucking name on
his birth certificate (either that, or he was really shit at coming
up with nicknames). I honestly don’t remember WC’s storytelling
skills being this refined (and at such an early point in his career,
as well).
8. COMIN’
STRAIGHT FROM THE HEART
Aladdin’s
instrumental sounds a bit too much like his work on “Aladdin’s On
A Rampage”, so that was a bit of a turnoff, especially since it
drowns out WC’s lyrics (and don’t you want to hear WC threaten to
eat you up like Apple Jacks?). I love how, back in 1989, every verse
in most hip hop songs simply had to end with the song title.
9. WE’RE IN THIS
TOGETHER
This was much
better. Over a beat that could easily act as a substitute for the
music on “Funky Song” (a good thing in my book), WC rips this
title track apart. The man’s lyrics don’t really deviate from the
norm: more than half of the content here is just talking shit about
other rappers, but it sounds so entertaining coming out of the mighty
WC’s mouth that you really just don’t care. He also manages to
shout-out a bunch of people at the end of the track, including Ice-T
(which was kind of obvious), Coolio (who would later be a part of
Maad Circle), DJ Crazy Toones (WC’s little brother), and even his
label, Priority Records.
10. MAKE ROOM FOR
THE DUB.B.U
I honestly don’t
remember very much about this song. Maybe it's because it pales in
comparison to what came before. However, I’ve noticed that a lot of
Aladdin’s beats here rely on guitar samples. That’s pretty much
all I’ve got.
11. NO MERCY
This one doesn’t
fare much better, as it’s difficult to differentiate between
Aladdin’s beat here and the track before, but WC fares much better
lyrically. This is still overshadowed by the ineffective beat,
though, and considering what else appeared on here, this was kind of
a weak way to end the album.
THE LAST WORD: We're In This Together is a fun and
nostalgic trip back to 1989, which surprisingly holds up much more
than I had expected. WC’s always been one of my favorite emcees
from the West Coast, so there’s no surprise that his verses are
consistently entertaining throughout, whereas nowadays most rappers
can’t even stay interesting for the length of one song. DJ Aladdin’s
beats are definitely a product of their time, but they accompany the
mighty Dub’s lyrics well enough, and even though some of them kind
of blend together, there’s enough good music here to make this an
altogether enjoyable experience. I think it's worthy of a purchase:
it's not all that expensive these days, and nobody actually buys WC
albums anyway, so help the guy out and spend your money on something
worthwhile.
-Standos
(Questions?
Comments? Concerns? Leave your thoughts below.)
Hmm I'll check this out
ReplyDeleteThis is an alright album. This was before WC really developed his crazy flow, but his delivery is still fantastic
ReplyDeleteintriguing review, but ive never really been a fan of hip hop before 1992, besides a tribe called quest, so i probably won't check this out. but i might take a look at WC. besides all of that, Freddie Gibbs & Madlib-Cocaine Pinata is worthy of a Max review :)
ReplyDeletelast sentence
DeleteArgh I preordered it and absolutely can't wait :D
DeleteWeird, I just discovered this the other day. Good review, though.
ReplyDeleteMadgibbs
ReplyDeleteBoosie Bieber
DeleteNow That Whodinis Inside the Joint, Eric B make 'em Clap to this, The House that Cee built, DJ Nabs Break...pretty decent dj tracks...
ReplyDeletenot a fan of pre 92 hip hop? wipeyahmoufkid
shittin' calico turds on a Grammer Nazzi...but the phrase "probably one of the most lesser-known" fuckx my medz all the way up
Arguably one of the best albums of 89' if you dont know about this your missin out!!
ReplyDelete