|
| That's the theory though. Proven
wrong in many songs, where Deck is not immune to
all the evils, the demons, as he shows on "That
Shit", that demands the girls, the
cars and the other luxuries. The beat is cocky too.
That's however only part of true determination,
again shown in the simplicity of "Get
Right", with a bare backdrop, that
at the right volume still pushes you. "The
Movement" however is nothing political,
with the contradiction running as deep as: "I
do this for dough, but it's really for love".
But up to this point, the music is still gritty
enough for you to believe the latter. And how can
you be mad when Deck just seems to really enjoy
himself on "Who Got
It?": "son, I raise your blood
pressure like tight jeans and thongs / guaranteed
like throwin' the bomb to Keyshawn / put your peeps
on, I spice it up like Dijon". Or when he and
Street Life show their gift of gab in the game with
gals on "Shorty
Right There", where it's "call
it love at first sight, 'til the next one pass like". |
| At the same time however, the grind
is keeping Deck on "City
High", as "cash rules, so naturally
it had me / the temptress teasing me, I lust badly
/ she said 'You want professional and records sold?
Let it go' / and I replied 'This is the only life
I'll ever know'". The outlook at the end is
however still positive, and spat over one of the
best beats on here. Deck's also speaking on the
struggle on "U Wanna
Be", over a weak beat though, and
on its theme brother "Big
City", that comes through with a good
beat. On "Vendetta"
the bragging claims that Deck is not down and out:
"for life I'll be underground / their first
thought was yo: 'How did he survive with no commercial
support?' / damn right, I miss the corporate politics
and tricks / where the SoundScan is rigged and contracts
are fixed / I sit in the pit where the grime exist
/ legendary, they still lovin' my rhymes from 9-6
/ now I'm back, that's my word as I reveal this
shit / by choice or by force, ya'll gonna feel this
shit, ya hear?". |
| By the time "It's
Like That" appears though, we get
a little tired of the empty banter, and with the
beat being really bad too, we realize that the mind
is not thinking, but actually pondering proletarian
cheap thrills. The super villain static of "Framed"
struggles to excite too, despite Kool G Rap joining
the song, and while we were happy to join the party
earlier on, "Bumpin
And Grindin" is just too blatant, and
is only saved by the remote Wu horns. Only by "The
Stereotype" Deck wins us back, with
a dope beat, but not with a clever analysis of the
'types. Instead this just flows and reps. There's
no more more messages to be found on "That
Nigga", while the album ends with "Cradle
To The Grave", a track reminiscing
over the lost. |
| So this package is not as intellectual,
not as rebellious as expected. It's also catering
to the simple needs of the simple characters. Again,
as does folklore. With it hiding the conscious among
the seemingly care free stories and plots. So conceptually
the album still fits, what does not make it exceptionally
though. With several dope beats, a strong flow throughout
the album, the odd jewel and excellent verse here
and there, the INS still does a lot right to keep
the crowd interested in the crumbling Wu empire.
Consider this album the Friday night out, the good
times, before on the next album we might return
to the studies. |
| review:
tadah |
|
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25.06.03
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