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Progressive hip-hop paired with tight production equals a masterpiece

  Nic Balding - Arrow Staff

   Few things angers me more then when closed-minded music listeners put labels on hip-hop. "It all sounds the same to me" or "all they rap about is being in gangs and demeaning women" seems to be all I hear from the ignorant.

   I attribute these people's notions to mainstream "hip-hop." These mainstreamers, which rap to make buku bucks rather then entertain, have neither the mental capacity or skills needed to produce a quality cut, let alone an entire album.

   With all the unskilled crews running around rapping about how nice their ice is and how their cherry red Benz is rolling on 20-inch chrome, it's hard for hip-hop to be considered art. Thank Goodness for the underground talent that Project Blowed exhibits.

   The Project Blowed compilation not only changes hip-hop for the better it pins mainstream rappers to the mat, then puts them out with a lyrical sleeper hold. For those of you that have not heard of Project Blowed, it's an open mic workshop in Los Angeles that thrives on improving the skills of MCs in a battle-rap style environment.

   If you have no knowledge of hip-hop and the skill needed to make it entertaining through uniqueness, flow, and numerous other factors, stop reading now. This album is over your head.

   Now that I have an educated audience, roll the tape and let the review begin.

   "Jurassick," the first of the 19-track album, features Aceyalone of Freestyle Fellowship, Spoon Iodine, and C.V.E. Stylewise. This track is as dynamic as a dinosaur in modern-day times. Hip-hop has never been graced with the progressive styles displayed by this threesome. Believe that.

   Abstract Rude, the granddaddy of Abstract Tribe Unique, lets everyone know about the Strength of "A.T.U". The lyrics, "Only the finest rhymers are chosen," sums up this track nicely. The track displays Abstract Rude's capability to make you tweak off his smooth beats and hypnotizing lyrics. The track not only creates an audio force field around you, but also generates a visual montage that could only formed Abstract's style.

   A cappella is difficult no matter what type of music the vocalist sings. It's especially challenging with hip-hop. "What a Pity" may not sound very impressive until you realize that they don't have a beat to rap to, which makes it nearly impossible to flow smoothly. The mic masters of C.V.E. make it sound like a walk in the park.

   White rappers rarely succeed in producing high quality hip-hop. To tell you the truth, the only white rapper I can think of with equally seasoned skills as African American MCs is Necro. "Don't get it twisted" is a lyrical slap in the face to white rappers. "When I think of ownership of ships and whips and now they say that black is hip," says Eve of Figure of Speech, the female hip-hop duo. They rap with enough conviction to humble even the strongest MC with their frantic rhyming style.

   "Once Upon a Freak" is a journey into the world of a pimp. Trey Loc tells you what it's like to be him. The female audience may find this track offensive, but lyrically, this song is amazing. Loc creates images through his rhyming that are only challenged by writers such as Steven King and J.R.R. Tolken. Remember, once a freak, always a freak.

   "Heavyweights Round 2" is a battle-rap orgy. The likes of Self-Jupiter, Ganjah K, Mikah 9, and eight other talented lyricists each take their turn at tearing up the mic. The changes between artists are dizzying. It clearly displays the power of the all mighty West-Coast underground scene.

   "I Don't Know," featuring the A-Team and Rhymin Riddler is a priority check addressed to all the shady hip-hoppers. It suggests that the true art of hip-hop lies within entertaining. Abstract Rude's use of metaphors and similes puts you in a state of reverie. "When the mind opens, I'm thought provoking, your broken down to your atoms, my sound swallows you. You be looking around to follow," says Abstract, describing his battle rap superiority. It's almost like the lyricists uses simple rhymes followed by more intricate flows and lyrics to keep you from blowing your wig to early. This track is easily one of the best on the album.

   The A-Team is back again on track-18, "Maskaraid Part 1 & 2". The track succeeds in transporting you to a masquerade where various hip-hop figures dwell. When all the masked figures reveal their identities only those with true styles prevail. The feel of track is nothing short of dreamlike. Fat Jack has produced one of the best hip-hop tracks of all time.

   Lyrics are not the only thing that makes an album. Production is what makes the tracks appealing to the ear. "Treble and Bass" defiantly steals the prize for best track production. The perfectly placed lyrics and beats make this track a masterpiece that must be heard to be truly appreciated.

   It's impossible to compare this album to any past, present, or future hip-hop record simply because it is in its own category. It's just so much better then anything out there and will always be a true hip-hop classic. It's hard to believe that most of these tracks were recorded in 1995.

   The styles and talent portrayed on this album can only be appreciated by the true hip-hop expert. It will knock down the boundaries created by hip-hop crews afraid to step outside the realm of acceptable and into the realm of pure hip-hop euphoria. Still, this album will be over the heads of many. Who knows, maybe the styles revealed on Project Blowed are being revealed too soon for a generation of zombies with dreams of mainstream grandeur. But those of us who know the true essence of hip-hop should not be without Project Blowed.