Smashy Trashy

producers: camu tao, el-p, blockhead, przm, walter rocktight

guests: aesop rock, vast aire, cage.
year of release: 2003
There's a simple rule: don't abandon your audience. Unless you find something to get new fans. But if you don't have the resources, means, time, or intention to get to a new audience, then don't abandon the one you already have. Therefore as a label like Definitive Jux, who has an incredible strong following, that will buy whatever record that bears the logo, there's good reason why to play it safe and cater to them. Especially if you have gained these fans with such strong and powerful records, that touch the listener on many levels, intellectually, the soul as well as their pride, you'll only piss them off if you give 'em fast food.
Not saying that Ronald will be do the boogie to S.A. Smash, but he's better advised to boogie than to try to learn anything from this. Where Aesop Rock was offering insight, this is offering ignorance. Where Cannibal Ox was offering wisdom, this is offering a whimsical kookiness that not many will find funny. And however ironic this was meant, however humorous and pulling whoever's string (or serious for that matter), the outcome is still lacking what the Definitive Jux fan wants, but does a lot that the same person despises. And however well it's done, better, more creative, more eloquent, more whatever, it still is that and not much more.

tracklisting
1. [Intro Skit] Smash TV feat. Cage
2. Robot
3. Clout
4. [skit] Get Home
5. Illy
6. Weird
7. Slide On 'Em (Escapade) feat. Vast Aire
8. Love To Hate
9. A.A.
10. Jerseyed Out
11. Love To Fuck feat. Aesop Rock
12. Old Man Trigger [skit] / I Know What You're Thinking
13. Last Night
14. Body
15. Bang
16. Gangsta
17. Spot Tonight
And what it is, it's thug rap. It's good thug rap, but it's something that all those elitist backpackers will struggle to come to terms with. With the name 'thug' being unfitting and overused. But it boils down many of the concepts on here to one simple word. That also automatically separates the audience in loving it and despising it. With the regular, general and average Definitive Jux fan probably being in the latter category.
What's neither here no there though. Because breaking it down to the bare 'is this done well or not', then it sure is. The album has a specific feel, despite the many producers handing in beats. While Camu Tao does the majority of the songs, including a solid "A.A." and "Clout", a good "Slide On 'Em (Escapade)" and "Bang" or a hype "Gangsta", there's however also the incredibly bad "Last Night II". El-P's "Illy" is bass heavy, but lacks the usual angst. Blockhead's "Love To Fuck" is okay, while PRZM happens to hand in two of the better beats with "Jerseyed Out" and "You're Thinking", and"Love To Hate" by Walter Rocktight also works. But Ese & Hipsta's "Weird" is again weak.
Lyrically, we first have to bear the horrendous chorus of "Smash TV", and then listen to seventeen tracks of gun, sex, alcohol and related articles mayhem. Here's where it remains unclear on how serious Camu and Metro were with their lyrics. If we're supposed to laugh, then our giggle is stuck in our throat when we hear the next stereotypical ignorant verse. Because the lyrics speak about little of relevance, but about a whole lot of cheap thrills. And this is where Murs worked: it was funny, often silly, but you could always tell the intention. This is just brash and simple and stupid.
So with all that said, one of the most distinctive features of this record is, that it's not unique. The strength of Definitive Jux was also the completeness of their releases, that always pushed the boundaries, if not perfecting what was the intention. You can argue that this is perfecting the attention too. But its not S.A. Smash's original concept, because there's already a million other artists that do this type of rhyming. And you need to wonder how much this album was meant to cater to the fans of those artists. How much Def Jux wanted to move into that field and reach that audience. Or if it actually still planned to stay with the people that have already religiously bought every one of their releases.
Because if Def Jux wanted to keep their audience, then their flexibility was probably over estimated. If it wanted to reach a new audience, then all of these questions and scenarios build up to the ironic conclusion that to a certain extent Definitive Jux is repeating the mistakes of Rawkus. And yes, whoever dares to say this, will get crucified by anyone involved with Def Jux, because that's just a comparison you don't make. Nevertheless the finding still comes close to the truth, may it not be in intention, but at least in outcome. Def Jux was supported because it stood against everything that now is characterized by this record. This is a blueprint for pissing off your audience. It's a beer brewery sponsoring an AA event. It's a condom company sponsoring a True Love Waits get together. That can't work. And therefore, this album, with all its qualities, will probably mainly reach those it was not done for. And that can't work.
review: tadah
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