Killer Mike - R.A.P. Music (May 15, 2012)

With the unprecedented slow-burning success for the rap duo Run The Jewels, El-P and Killer Mike are currently experiencing the highest peak either of their careers has reached, and I say that even though Mike once won a Grammy in a past life. Run The Jewels are still riding a wave of goodwill created by releasing all of their albums for free while making all of their money by performing live: through this business model they’ve seen their fan base multiply and their industry clout level up, allowing them the wherewithal to sell a ridiculous remix album where the beats are made up of cat sounds (with all proceeds donated to charity), along with the opportunity to contribute to higher-profile projects and soundtracks. By far, though, one of the better byproducts of their newfound success is seeing people on social media just now discovering that Mike and Jamie had careers in the music industry before Run The Jewels and did not, in fact, just drop in out of nowhere.

For whatever reason, though, I tend to only see jewel runners talking about El-P’s discography, both solo and as a part of his previous group, Company Flow, whereas I haven’t seen many do a deep dive into Michael Render back catalog, even though, again, he won a Grammy. I’m not the guy to do the deep dive with – as is my usual excuse, there are too many artists that have worked their way into my project, and as much as you two may not want to see it, I have to end it at some point. But I can and will discuss the project that serves as ground zero for the Run The Jewels partnership: the El-Producto-produced R.A.P. Music.

R.A.P. Music (the acronym stands for Rebellious African People) serves as Killer Mike’s fifth solo album, coming after his debut, which was recorded under the mentorship of his friends in OutKast (who he won the Grammy with), and three follow-ups that came after Render had a falling-out with Big Boi. His catalog mines similar territory that his Atlanta brethren have written about, but in addition to his genial shit-talking, Mike mixes in his beliefs as an activist, focusing on topics such as racism, the importance of gun ownership (groan) inequality, police brutality, and other buzzwords. All of this is filtered through his life in the South, which today would be classified as the home of trap music: indeed, had Michael never met El-P, it’s highly likely that his lyrics would be roughly the same, except the beats underneath them would incorporate weak-sounding 808 drums.

El-P and Killer Mike were first put together by a man named Jason DeMarco, an executive at the Cartoon Network. Although their daytime programming skewed younger, as we all know by now the channel switches things up at night, so much so that their evening programming is rebranded as adult swim. The irreverent humor, anime, and outright ridiculousness adult swim airs on a nightly basis is punctuated by music provided by a slew of underground artists, one of whom was producer-slash-rapper El-Producto. Mike had been tasked with providing new bumper music for the channel, and DeMarco suggested El-P as a producing partner. So everyone out there who loves Run The Jewels needs to send DeMarco something for his birthday, because he is directly responsible for the duo forming in the first place. Mike’s from Atlanta and El-P’s a New York guy, so it’s possible that they could have met at some point, but there’s very little reason to believe that Run The Jewels would have ever existed if not for DeMarco and adult swim.

For whatever reason, DeMarco believed that Mike’s gruff, antagonistic vocals would work well with El-P’s oftentimes densely layered, old-school-tinted, belligerent beats, and they both seemed to agree, joining forces for the proto-Run The Jewels album R.A.P. Music. Fully produced by El-P and released by Williams Street (a label DeMarco formed as a way to distribute the music commissioned exclusively for adult swim), the album features twelve tracks of unfiltered Michael Render, running the gamut of subjects while basically reintroducing himself to the hip hop audience of 2012. (Even though his fourth album had just dropped a year prior, Mike wasn’t generating buzz within our chosen genre, only appealing to diehard fanatics who had been following the man since his days alongside Big Boi and Andre 3000. No matter how you slice it, adult swim revitalized Mike’s career.) El-Producto’s production work on R.A.P. Music has been likened to what The Bomb Squad did for Public Enemy on their earlier projects, his pounding instrumentals serving as the underline to Mike’s rants and boasts.

R.A.P. Music was met with heaps of critical acclaim, and it helped bridge the gap between underground heads and Southern rap fanatics, a lot of whom picked up the album just to hear how a dude from Atlanta would even sound over El-P’s beats. The man himself even makes a cameo on R.A.P. Music, marking what is now unofficially referred to as the first Run The Jewels song. The duo found that they liked working together so much that they wanted to keep the fun times going, forming the group and releasing their debut project the following year, and the rest is, well, you know.

Now if someone would be cool enough to write-up El-P’s solo albums for me, that would be nice. (*hint, hint*)

1. BIG BEAST (FEAT. BUN B, T.I., & TROUBLE)

Run The Jewels fans working their way backwards through the Killer Mike catalog to placate their need for more music will be thrown for an immediate loop on the very first track of R.A.P. Music, as it firmly establishes Michael as a Southern rap artist that has a life outside of the group. So, you know, the Killer Mike you two readers are already familiar with: the dude who copped a Grammy for his work with OutKast, the guy who once did a song with Bone Crusher, etc. His aggression is a constant, though, and that’s only exacerbated by El-P’s instrumental, fill of hard-hitting stings, stabs, and slices of rhythm coupled with a quickie sample from Public Enemy’s “Public Enemy No. 1”. Which is appropriate, as critics kept referring to El-Producto as Render’s one-man Bomb Squad. Mike sounds just fine over his two verses, whereas guest T.I. (Mike’s former label boss) is out of his league sonically, but uses his overconfidence to sidestep his problems, and the hook (provided by Trouble) is unnecessary. Bun B is the revelation, though, keeping up with his host every step of the way, unbothered by what Tip probably thought was just the noise in the background. So with this, and the Jamie and Mike collaboration “Myself” off of Bun B’s Return of the Trill, who wants to place a bet that Bernard will pop up on Run The Jewels 4?

2. UNTITLED (FEAT. SCAR)

Whereas “Big Beast” wasted no time getting to the fireworks factory, Mike and El-P take their sweet-ass time with “Untitled”, as Jamie builds the instrumental in order to help create an actual song, as opposed to just a vehicle for rappers to talk their repetitive shit over. Michael doesn’t even pop in until around the forty-second mark. The wait is worth it, though: Killer Mile’s delivery is forceful and arrogant, but calmly so, which makes him sound even more imposing, granting his verses much more weight. The chorus, performed by Scar, works just as well as Trouble’s did on “Big Beast”, which is to say, pass, but it’s still worth sitting through to hear Mike’s brief final stanza, which approaches at least a little bit of what jewel runners came to see.

3. GO!

Doesn’t even last for a full two minutes, but I still couldn’t focus all that much on Killer Mike’s rhymes, as El-P’s instrumental kept distracting me every step of the way. I can’t really explain how he managed to make an accordion sample not sound corny, but that’s pretty much what happens on “Go!”: unfortunately, that same accordion sample contributes to a carnival-like atmosphere that isn’t the best fit for our host, who spits at varying speeds while fumbling his way through a haunted house. (Although Mike did appear in the video for OutKast’s “The Whole World”, a song he also performed on, and that takes place at a circus, so.) You should listen to this song at least once, I guess, but I fear my description just made this sound better than it is, and “Go!” really isn’t all that good, you two.

4. SOUTHERN FRIED

El-Producto’s instrumental sounds like he took a cursory listen to the music coming out of Atlanta in 2012 and loudly proclaimed to whoever was around, “Welp, fuck that shit,” opting to make whatever the hell he wanted instead, confident that his collaborator Michael would understand where he was coming from creatively. “Southern Fried” shares much more in common with OutKast in their prime than it does any other trap artists from the South, not so much because the beat bangs (I mean, it’s alright, kind of annoying at times), but more in the way frequent OutKast friend of the show Killer Mike uses the guitar chords and slabs of programmed drum work to talk shit while complementing his wife. “Southern Fried” isn’t a bad song, but there’s no true replay value here.

5. JOJO’S CHILLIN’

The quickie intro to “Jojo’s Chillin’” could have been affixed to any of the Run The Jewels projects, although that would technically discount the contributions El-P’s production cohorts provide behind the boards. Anyway, our host flexes his storytelling skills on “Jojo’s Chillin’”, a simple tale of a criminal trying to flee Atlanta in order to avoid arrest and a likely indictment, but Mike throws in so many details, some of which are pretty funny, that it comes across as a direct descendant of songs like Ghostface Killah’s “Alex (Stolen Script)” or “The Hilton”. Which is probably why Mike has (a fictional version of) Ghost himself appearing as a (non-playable) character in this story, popping up twice as Jojo stresses over getting to the airport, then getting through TSA with weed in his pocket that he forgot to ditch, to sneaking off the plane once it lands at JFK, and so on. The ending isn’t quite that great, but Mike’s pretty animated and magnetic throughout, meshing with El-P’s kinetic production beautifully. Give it a spin. As a bonus, it’s pretty short, clocking in at less than three minutes.

6. REAGAN

The song that Run The Jewels fanatics who weren’t all that familiar with Killer Mike’s solo catalog will probably gravitate toward, if not the one they'd immediately skip to, as “Reagan” is the most overtly political track on R.A.P. Music thus far, even though Michael claims he isn’t a very political person. (Sure, buddy, tell that to all of the Bernie bros out there.) Our host takes shots at both Democrats and Republicans throughout the track, but reserves most of his hatred for the late Ronald Reagan, focusing his laser on how the actor-turned-politician gave weapons to terrorists in exchange for freeing hostages in Nicaragua; started the War On Drugs, which effectively gave carte blanche for cops to harass black people, a problem that sadly persists to this day; and introduced crack to the poor. Mike ends the track by saying how glad he is that Reagan is dead. Given his preceding argument, it’s completely understandable, and you may also feel the same way. Not entertaining as a song, exactly, but odds are you’ll probably find a lot to like.

7. DON’T DIE

El-P may be operating as a one-man Bomb Squad, but Killer Mike is no Public Enemy. Instead, and this should have been obvious to you two from the jump, he’s an Amerikkka’s Most Wanted-era Ice Cube type.  It’s clear from the anger and sense of betrayal by humanity in our host’s voice that O’Shea casts a large shadow over “Don’t Die”: hell, you can practically hear the man perform the song himself. Not literally, of course, that wouldn’t make any sense, but Mike does such a dead-on impression at times that now all I want is Cube to make a cameo on Run The Jewels 4. But I want Westside Connection Bow Down-era Ice Cube, which was the last time he sounded fucking angry and like he even remotely cared about his craft. Sigh. Still dug this, though.

8. GHETTO GOSPEL

When “Ghetto Gospel” first begins, El-P’s instrumental sounds like it could have been lifted directly from Company Flow’s instrumental album, Little Johnny From The Hospital, even with the Emotions “Best Of My Love” sample sneaking in there. Once the chorus chimes in, though, it’s obvious that there was much more care and thought pit into the track, as it approaches the feel, but not the sound, of a gospel preaching what our host is putting forth. Michael continues to speak on society’s ills as El-Producto’s production work squirms its way into your brain, installing a pop-up shop atop a synapse that peddles overpriced grilled cheese sandwiches. As one could tell from my critique, I feel this track is far more El-P’s show than Killer Mike’s, the first time that’s happened on R.A.P. Music. And that is something that shouldn’t have happened: this isn’t El-P vs. Killer Mike, folks.

9. BUTANE (CHAMPIONS ANTHEM) (FEAT. EL-P)

The first song any proper Run The Jewels fanatic skipped to or clicked on when playing the album, obviously because of the guest cameo from Jamie. That doesn’t happen until the final verse, though, so “Butane (Champions Anthem)” (whose very title even sounds like one of the duo’s throwaway soundtrack offerings, making it seem like forming a band was a foregone conclusion at this point) is Killer Mike’s song to lose, and he comes out swinging, zealous and antagonistic over El-P’s instrumental. The shit spoken on here covers no new ground, but the chemistry between our host and his guest is evident even on this early collaboration, and El-Producto’s verse will excite jewel runners, I suppose. It wasn’t my favorite song ever, though.

10. ANYWHERE BUT HERE (FEAT. EMILY PANIC)

I remember not liking “Anywhere But Here” back when I first heard it, which, no, wasn’t just five minutes ago, fuck off. El-P’s beat is pretty good, but enables and informs an awkward-sounding Killer Michael flow that differs from everything else offered on this project. It’s since grown on me, and I accept there was no other effective way for Mike to deliver his two verses, which describe life in the big cities of New York and Atlanta while providing the horrific juxtaposition of cops killing black people on a regular basis: it goes without saying, but I’m going to do so anyway, that a lot of our host’s social commentary is too relevant to today’s audience, which is incredibly fucking frustrating for anyone with even a shred of humanity. That isn’t Mike’s fault, though. El-Producto’s then-girlfriend, now-spouse Emily Panic lends her voice to the chorus, but while she sounds alright, it kind of gives “Anywhere But Here” an Alex Da Kidd/Skylar Grey vibe, which is likely why I don’t really fuck with this song all that much, and also why you two won’t see it listed in the “Best Tracks” section below. It’s still worth listening to once, although I’ve noticed that I feel that way about a lot of the songs on R.A.P. Music and that cannot be a good sign for my ultimate critique. Groan.

11. WILLIE BURKE SHERWOOD

An unexpected detour into schmaltzy sentimentality, as Mike dedicates a full song to the memory of his grandfather, whose name makes up the track’s title (obviously). An entire song devoted to discussing the importance of a father figure in a young man’s life is not where I thought R.A.P. Music was ever going to go, but Michael is a complex man with a coat of many colors. I thought it was silly when our host exclaimed that he is “addicted to literature”, but I feel it would be weirder if he weren’t so excited about books, to be honest. Our host plays it so straight that it’s difficult to grade “Willie Burke Sherwood”, but I’m going to do it anyway: I fully believe in the intent, but that doesn’t always translate into a song one would want to hear on repeat while driving home from work or something. It definitely isn’t a bad song, far from it, but it doesn’t exactly demand repeat listens, either.

12. R.A.P. MUSIC

R.A.P. Music ends with its title track, which equates hip hop to church, and in his way, Killer Mike successfully makes his case. Music is clearly important to him, as it is to you and I, or else why the hell would you still be reading this blog?, so I can certainly relate to having powerful experiences with some songs and/or artists. El-P’s production is lower-key than usual, allowing our host room to breathe, and the gamble pays off. It is kind of strange that R.A.P. Music ends with two attempts at heartfelt, if not a bit sappy, commentary, but at least our host comes across as more well-rounded as a result, something you two may not have found the man to be in the past. Still kind of glad this is over, though.

FINAL THOUGHTS: It’s important for me to note that R.A.P. Music is not a Run The Jewels album, so those of you two who were intrigued by this project because of what it ultimately birthed may find yourselves disappointed. This is what happens when Michael is fully in charge of the writing process, and as a solo showcase, it’s a tight, yet comprehensive peek into his worldview. Lyrically, although he’s all over the place topically, Killer Mike sounds focused on every track, and it isn’t hard to imagine the man writing similar bars had the working relationship with Big Boi not been fractured so many years ago. (They’ve since reconciled, but there was a long break in between.) El-P, working extensively with his first artist from outside his Definitive Jux or underground New York bubble, supplies his charge with fiery, bombastic beats that insist on being heard, even if they’re not all great. R.A.P. Music isn’t a perfect album: the kinks of the partnership hadn’t yet been ironed out, and on paper, this collaboration didn’t even make all that much sense back on 2012. But the positives outweigh the meh tracks, as there are no outright awful songs on here, and when El-P and Killer Mike hit, their chemistry is palpable. People may finally be discovering R.A.P. Music as an origin story of sorts, which it very much is, but it stands alone as its own thing, and the songs that work would have done so even if Run The Jewels had never formed. Which is the truest test of all, really.

BUY OR BURN? Run The Jewels fans should stream this one first before committing their hard-earned money, as R.A.P. Music isn’t what you think it is, although it also isn’t what you think it isn’t, if that makes any fucking sense. Other hip hop heads will definitely find something to enjoy on here, so I’d recommend you throw some money Mike’s way. He thanks you in advance.

BEST TRACKS: “Jojo’s Chillin’”; “Don’t Die”; “Big Beast”; “Untitled”

-Max

RELATED POSTS:

Not so much on Killer Mike solo (but you can submit a Reader Review if you’re so inclined, hint hint), but you can find write-ups for the other Run The Jewels projects by clicking here.