(Today's Reader Review comes from frequent contributor Justa, who decided to write about blogger favorite Blu by taking the road less traveled, eschewing the obvious choice in favor of his collaboration with Mainframe, Johnson & Jonson. Leave your thoughts for Justa below.)
For those who would deem themselves
“Hip Hop Heads”, Johnson Lee Barnes, a/k/a Blu, is no stranger to
you. Below The Heavens, his 2007 collaborative album with producer
Exile, is touted in some circles as the second coming of Jesuchristo
(if you let them tell it). Or, perhaps more accurately, it's just a
really good rap album that was released seven years ago, and the
praise thrust upon it has rendered almost beyond critique. (That's
not the reason why it hasn't appeared on the site yet, but for now
I'm going to steal that line. Thanks, Justa!)
Which is why I chose a different Blu
project to review, one which was actually recorded a year before
Below The Heavens, but released afterward, with the assistance of Los
Angeles-based producer/rapper/(now) label director Mainframe. While
Below The Heavens stole the hearts of frequent Okayplayer readers,
MySpace fans (remember those?), and others across the Internet, Blu
and Mainframe's Johnson & Jonson was released to much less
fanfare and far less dickriding. The album cover only featured a
plastic, red baby doll with no words printed (except for the Johnson & Jonson name on the side), so it's possible that some of the
more lazy Blu fans were most likely unaware of this project's
existence.
Johnson & Jonson is made up of
production stemming from sampled loops, most of which were likely dug
up during plenty of nights spent at home (see: broke) before Below
The Heavens empowered Blu with global bookings, as well as
twice-weekly paid meals at places that aren’t Denny’s. Which
could be a good thing, because creativity might have freely flowed
due the limited nature of outside expectations (and influence of
money), or a bad thing, in that they could have been sitting a dirty
living room, filled with miscellaneous, indescribable filth most
likely including, but not limited to, Burger King wrappers, 7- Eleven
cups, and ketchup & mustard-stained past issues of The Source.
They also were probably under the influence of a little too much Mary
Jane.
Let’s see how well this album plays
out.
1. J&J
Look Max, no intro! It’s always a
good thing when album starts out with actual music. An up-tempo,
dusty rock loop accompanies the duo trading off bars. Mid-song, the
loop morphs into something a little more downbeat, and Blu basically
just ”goes in” on some solo emcee shit. If this is any indicator
of what's in store, I'm going to have get out my thesaurus, so that I
can describe Blu’s flows for each track that follows.
2. UP ALL NIGHT
This song was my first exposure to this
project many moons ago. The title is appropriate, as it is somehow
able to capture the feeling of “one of those nights”, or, as that
Dave Chappelle skit chronicled/mocked it, “guys night out”. Blu
spits a misogyny-appropriate (juxtaposition if I ever heard it)
freestyle to accompany the kind of filthy/grimy/1970’s
blaxploitation-sounding loop Mainframe has crafted. Weird shots fired
at Michael Jackson, some drunken banter, and tales of trying to get
tail are all included in this lyrical exercise, which is why I think
this song should be a staple in every college comedy from here on
out. Someone get me Hollywood on the phone. Tell them that I have
ideas!
3. HALF A KNOT
Those that appreciate “real” rap
will enjoy the production on this one mos def:a dusty funk loop, with
classic drums taken straight from 1988. Blu delivers a pretty solid
verse as well, of course. No complaints here.
4. MAMA TOLD ME
The beats on this project are
definitely golden-age inspired excellence. The quirky jazz-fusion
loop on “Mama Told Me” is just too much fun to not enjoy.
Basically this song bangs! Which has me wondering: outside of the
high cost of clearing all of the samples, why don't Blu and Mainframe
work together more often?
5. THE GUSTO ROOM (FEAT. STAND UP
COMEDY BY BOBO LAMB as JACK JOHNSON)
The first concept track, which could
have been a tragedy, as most conceptual songs seem to be under- or
over-thought in the genre. This, on the other hand, is neither, so
my praise continues as a casino scenario is nicely recreated with the
rhymes of both Blu and Mainframe and with Bobo Lamb's comedic
interruptions. I see no faults here.
6. WOW!
We ditch the casino for a club setting.
A smooth, soulful, lounge-y backdrop grooves along as we hear Blu
basically talk about stuntin’ at the club. I would suggest that
these last two songs could have benefited from an Alkaholiks feature
if that were possible (in a perfect world). Not that this track
isn’t fresh already, but can't you just see Tash and J-Ro adding
even more playfulness to it? Oh, the what-ifs.
7. THE ONLY WAY
Blu lays out his concerns, questions
and plans over Mainframe's music. “The Only Way” is much more
personal, and yet it doesn’t take away from the listening
experience of the project as a whole. This will definitely appeal
to those f you who enjoyed Below the Heavens.
8. IN THE BUILDING (FEAT. MIGUEL as
JONTEL JOHNSON)
A soulful interlude of sorts featuring
Miguel (yes, the same Miguel who had that hit song last year) singing
the verses while Blu performs emcee hypeman duties. While most hip
hop heads tend to turn away from singing, I should let you two
readers out there know that you will not be disappointed by this
Curtis Mayfield- and the Impressions-inspired joint. Give this one a
chance.
9. BOUT IT, BOUT IT
A pass-the-mic, back-and-forth affair
is always a welcome affair in my book, and this track brings the best
that exchange can offer as Mainframe pops back up on the rap side of
things over this Middle Eastern string loop. My only complaint is the
length: only two minutes!?! Can I get a little bit more, please? A
dope song nonetheless. No C-Murder references or Master P guest
appearances, either, which is what I obviously gleamed from just
looking at that title. Tangent over, let’s move on.
10. SPELL CHECK (FEAT. GANG SIGN
LANGUAGE BY BIG D MENACE)
Can the drummer get some? Damn, this
beat is too funky. More of that 1988-style gold for you. Blu and
Mainframe ain’t messing around on this album. This track bangs!
11. LONG TIME GONE
Blu recollects old memories and some of
his experiences over a more laid-back loop. Sade would feel right at
home on this beat. How is it possible that I'm this far into the
album and have yet to hear a bad track?
12. STILL UP ALL NIGHT (FEAT. CO$$ as
TROY JOHNSON)
A remix of sorts, I suppose, to the
earlier “Up All Night”. This take has more energy to it, the
beat a little more swing. Co$$ fills in on emcee duties and doesn't
disappoint at all.
13. A PERFECT PICTURE
While I was a fan of the actual rapping
on this one, Mainframe's beat was a little too bland for me. The
rhymes take up less than two minutes, but the song itself feels like
it lasts forever in all of the worst ways, thanks to a lack of
anything interesting happening on the production side. The first
real misstep I have been able to detect.
14. ANYTHING IS POSSIBLE (FEAT. RAPS
BY SUMOCH as RANDY JOHNSON)
Another pass-the-mic affair. This time
we have Randy (I have no idea who this is, either) and Mainframe
alongside Blu, of course. No drums are included on this one, but it
still sounds so good. The horn loop is great, and of course the flows
are on point. I wonder if this was inspired by Kevin Garnett
famously shouting “Anything Is Possssssssssible!”? One can only
hope.
15. THE OATH
“Students ain’t doing it right /
Ever since The Teacher started doing it for Christ.” Remember when
KRS-One dropped that Spiritual Minded album? If you do, please don’t
ask Max to review it; I just liked that reference. The final song on
this project features an uplifting, serene horn sample were Blu
delivers his declaration for what he is going to do in the game,
rapping like there is no tomorrow for a little over two minutes.
Johnson & Jonson ends with a hidden
bonus track.
HOLD ON JOHN
Wait, what? A John Lennon sample?
Dope! Blu gets his existential-worldview on with this one. As well
he should: it’s a Lennon sample for Christ's sake! A great end to
this affair.
THE LAST WORD: Why Johnson & Jonson
doesn't receive the accolades that Below the Heavens has is beyond
me. This project has very few flaws, much less so than Below the
Heavens I would argue; it holds up to hip hop purist standards; and
it has no filler, no unnecessary features, or frontin' (I added that
last one to create a proper F.F.F. acronym). The strength of Johnson & Jonson lies in the freedom that Blu and Mainframe displayed in
both creation and execution. An ode (of sorts) to De La Soul's 3
Feet High and Rising, Johnson & Jonson believes that there aren’t
any hard and fast rules in hip hop, and allows creativity to shine in
the experimentation with samples, concepts, and is just plain fun,
which is what this culture is all about, right? For those who are
disappointed in the post-Below The Heavens projects from Blu (I'm not
including myself in that classification), you should be listening to
this album on a much more regular basis. Johnson & Jonson has
aged very well, I must say: pretty much every song aside from “A
Perfect Picture” is solid. There is no excuse, aside from your
rent being late: why is this not in your library? Cop this one now!
-Justa
(Questions? Comments? Concerns?
Leave your thoughts below.)
ooo, been intrigued by this project for a while. I'm gonna have to download it.
ReplyDeleteSuprised its only one comment on here. No love for this albm?
ReplyDeleteNice review. This was sitting on my harddrive but for whatever reason I never gave it the burn it deserved.
ReplyDeleteJusta, any chance you'll bless us with a Good to Be Home review? Or at least just reply with some thoughts on it? Because I really dig the hell out of it and all the coverage I've read on it have basically been the usual lazy "the rapping's cool but wahhh wahhh it sounds so unmastered and cheap why Blu whyyyy" that no doubt inspired him to take all seven thousand of his albums off of Bandcamp and replace them with one giant mixtape that has the most irritating drops ever.
For the record, I think that give me my flowers while i can smell them, NoYork! and the Amnesia EP are all superior to Below the Heavens.
I'll hit Max up and see if he is down for that. He may have plans himself to review it. If he is down, and once I receive my deluxe package I pre-ordered I'd be more than game.
Deletethanks for the love.