Square
label: warner

producers: buck 65
year of release: 2002
website: buck65.com
 
Buck 65 on a major label. When did hell freeze over? Cause it's like we never thought we'd see the day. Or we thought we'd never see the day. Until there is "Square". Released on Warner Canada. What then obviously and devilishly has you ask how much of Buck is gone so that he's compatible with artists that are just as often pushed in "Just17" as in "Vice". Then again, Buck's music always was a little more for "Esquire" and "New Yorker" than, let's say "The Source" or "Rolling Stone". Buck's just like that. And it's still pretty warm in hell, because our world didn't get any less cold.
And a cold life is also what Buck talks about. And upon listening to this album, you can't really say that he changed his persona for the break through mainstream success. If anything, this album sounds changed because true artists progress and change. That's why none of the other Language Arts releases sounded the same, with this one then adding part four (actually mentioning such on the cover), while making the music a little more musical, smoother and even positive(?). And four is the magic number. Because four smaller squares equal one big square. And the hippies of today are the squares of tomorrow. So the sample says at one point. What obviously is a snotty remark to other people's remarks. But to continue the significance of four, there's also four tracks on here, all counting up "Rappers Delight" maxi version lengths. At least.

tracklisting
1. Square One
2. Square Two
3. Square Three
4. Square Four
All those that consider Buck to be a better producer than emcee will be convinced by all the production on here. Also to some extend by all the rhyming on here. However Buck has always had his own peculiar style of rhyme, with a simplicity that is demasquerading in its naiveté. What the words obviously aren't. The simplicity is commented with the Lao Tzu quote in the cover. Hence there's more consciousness in the words, more actual meaning behind each basic vocabulary word than you should take at face value. With the tales being still characterizing many people, remembering many moments, but also reciting the thoughts that wrote themselves on paper and even talking about food. Again, an aspect that Buck didn't change. But why should he, his words have always been accessible, what doesn't mean comfortable.
What then leaves the production. The thing Buck is better at, so the previously mentioned theory goes. With the theory turning into reality, when you check out the intros to the four parts. The first one is actually incredible. Absolutely brilliant with the dramatic clashing down of scratches, sample pieces and wrestling you down sounds. Your neck will be bobbing in no time, and the anthem is chosen. After this, the record then continues almost mix tape style, as each song are more or less blend into each other (while still could have been separated with a skip mark). Part two, but especially part three then does something somewhat similar, with the intro always being the ear catcher, getting your attention, after you've been drawn into the waters of the other sounds. So the intros allow you to grasp for air, to then be drawn/drown back down again.
What's the conclusion then? It's that Buck sounds very little compromised on here. This is Buck as many of us got to know him. He still does the odd little theoretical piece, he still cranks out the complex production. And while you can still argue about his potential to succeed in a mainstream market, the fans will be hollering hooray and new ones will be found.
review: tadah
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