cdreviews
UNK BEAT ‘N DOWN YO BLOCK Big Oomp/Koch
ACAFOOL ACAFOOL First String Entertainment
THE GAME THE DOCTOR’S ADVOCATE Interscope
Hip-hop anthems have a way of moving crowds in an almost hypnotizing manner. For instance, try visiting any club, block party, or social gathering where Unk’s undeniable hit “Walk It Out” is played, and within three seconds you’ll find yourself in the midst of men, women, and children awkwardly dancing on the tip of their toes as Unk confidently chants, “East side walk it out / West side walk it out,” over DJ Montay’s infallible track.
Clowns are just as important to the American fabric as the government that runs it and the corporations that fund it. They supply laughter in a time of darkness, and sometimes truth in a dishonest environment. That being said, Acafool is a clown. The Tampa-by-way-of-Miami representative’s self-titled debut is a cohesive effort that showcases a producer/artist that craft songs that can craft songs that can be played in any environment. To quiet any notions of where he represents ‘Fool opens the album with “FLA” to let it be known that he has love for every square mile and area code from Da Bottom to The Panhandle.
Before the drama with “Mr. Interscope,” the thought of a GAME sophomore album without the presence of Andre Young was about as blasphemous as a devoted Muslim praying to the west. When we learned that the name of the project was The Doctor’s Advocate, Dre’s decision to stick it out with his young protégé felt all the more admirable. For reasons that nobody, including The Game knows, Doc ultimately decided to exclude himself from the process, leaving the production duties to a bevy of other quality beatmakers – Swizz Beatz, Scott Storch, Will.I.Am, Kanye West and Just Blaze among them. And, he left the world wondering if young Chuck Taylor could stand on his own.
However, creating a two minute and fifty-three second anthem is child’s play when considering that fans will expect an entire album that will somehow equate to that unforgettable song. Unk attempts to shake that “anthem” jinx with his solo debut on Big Oomp/Koch Records, Beat’N Down Yo Block. Unk steps in the ring swinging with the snareheavy title track where he gives those in big body Chevy’s something to ride to. He repeats that theme two songs later on the Loko-assisted “Comin Down Da Street.” Jazze Pha provides a much needed change of pace and soulful feel on the heartfelt track “Thinking Of You,” where Unk spills the reality of life’s unexpectedness (“Nobody knows when we’re gonna take our last breaths / Hug your mother, Hug your father, nigga, hug yourself”). DJ Montay and Freddy B use a sample from the Isley Brothers “Groove With You,” on Beat’N Down Yo Block’s most personal song. Although trunk rattling cuts such as “Slow It Up” and “Fresh Dressed” allow Unk to show his 4th Ward swagger, a portion of the album flounders with monotonous material. The hit single “Walk It Out,” is unnecessarily remade on “2 Step,” and repetitive bravado is spewed on “Don’t Make Us,” and “Flat Line.” But let’s not forget what initially bought Unk to the national forefront. He is at his best when making songs that will keep the clubs crunk and partygoers moving instead of posting up on the dance floor. On “Back It Up,” Unk pays homage to the bass movement that was a key component in establishing Atlanta’s renowned strip club culture in the 80s and “Hit the Dance Floor” is self-explanatory.
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On the narcissistic “Look Good” he shows how to represent, but within his means. Lines like “Ballin’ on a budget and I still look clean and I’m fresher than you dudes in them thousand dollar jeans / I like to floss but it depends on the cost, Acafool ain’t never too cool to shop at Ross” are only outdone when the Haitian-raised rapper promises to “bring black brothas back like Wesley Snipes.” He shows more of his comedic chops on “That Shit,” an obnoxious account of a night out on the town where ‘Fool’s word choice makes you feel as if a video for the song is unfolding in front of your eyes. The theme is revisited, but with slurred vision, on “I’m Drunk.” While partying is Fool’s favorite pastime, he also uses his picture painting talents to present a less colorful side of life. The beat machine gets a rest on the a cappella number “Peaches & Cream” where he tells stories of teenage pregnancy, poverty and death. He continues to give reality doses on “I Can Feel That” where he provides his own brand of Thug Motivation with words like “my people were some slaves way back in the day, but I don’t expect to see no reparations / So I’ma stand on my own two and do what I gotta do to get my folks out the situation.” Not counting slight missteps like “Souke” and the Miami Bass tribute “Just Ride,” this album is an entertaining, light-hearted alternative that only a Fool could produce. He handles all of the frantic production himself, which is perfect for his ability to create visuals with his words.
Through a storm that includes perhaps the most volatile rap beef since Nas and Jay-Z, a torn relationship with his big brother and doubters from coast to coast, The Game stands tall on Advocate. Sparked by the Reefa produced “It’s Okay (One Blood),” it was obvious this past summer that Game hadn’t lost any ambition through the turmoil. Even as he’s disowned any beef with 50 and Dre, it’s clear that the relationship, or lack thereof still troubles him; especially on the Urban EP Pope produced “Lookin’ At You” and the DJ Khalil assisted “Da Shit.” Both Dre-ish tracks, the latter finds Game’s aggressive baritone hurling verbal tirades at his “mentors.” After he’s done beating his chest, Game is man enough to make amends on the somber title track. Alongside Aftermath lablemate Busta Rhymes and R&B newcomer Shorty, a drunk and weeping Game works to repair his relationship with Dre, reminiscing over Compton, The Documentary and their current plight. With Dre and 50’s absence, The Doctor’s Advocate is decidedly more “West Coast,” (“California Vacation,” “Compton,” “Bang” and the HiTek produced “Ol’ English”) perhaps the result of Game’s newfound freedom.
Lyrically, Beat’N Down Yo Block will do nothing to change the state of hip-hop, so it’s best to measure it by its its ability to keep party heads moving
Overall, this album can be compared to Ludacris’ independent debut Back For the First Time. With personality for days, Acafool has crafted an album that perfectly captures his raw talents and starts his collision course with stardom.
If he comes off confused or conflicted, it’s because he’s 26 and still maturing. Whether he asked for it or not, The Game was granted full autonomy this go round, and for the most part proves that he can handle it.
- A.R. Shaw
- Maurice G. Garland
– N. Ali Early