There is an oft ignored word in the discussion of Hip Hop, one
that has played an important role in the rise to prominence of many an MC:
hunger. There is much talk of talent, style and personality. But as Hip Hop
continues to descend into monotony and artistic intentions become more fiscally
focused, a truly hungry artist is a rarity (this of course is not the same
hunger that motivates Action Bronson). In 1993 Wu-Tang Clan released Enter the Wu-Tang (36 Chambers) which
represented the ravenous vision of 9 emcees. During an interlude at the close
of the track “Can It Be All So Simple”, Method Man, Raekwon and Ghostface Killah
expound on the thesis of the Clan’s purpose citing: world domination,
establishing a lasting legacy for further generations and displeasure with the
current musical landscape.
All of this is an important consideration when listening to
17-year-old Brooklynite Joey BadA$$’s debut mixtape 1999. Stylistically the album harkens back to the 90’s glory days
of the 5 Boroughs, combining boom-bap, do-the-wop, and East Coast grit. Lyrically
BadA$$ and his featured cohorts display a consciousness that surpasses their
age, taking a critical eye to their surroundings, while also displaying an
array of battle tested, braggadocio drenched rhymes. Despite being born at the
tail end of his influences’ prominence, 1999 sounds like an album lost in the
crates and just now unearthed.
Much like his contemporaries, A$AP Rocky with A$AP Mob, SpaceGhostPurpp
with Raider Klan or Tyler, the Creator with OFWGKTA, Joey BadA$$ represents the
forefront leader of a group, Progressive Era. On 1999 BadA$$ prominently represents himself but provides an
introduction for his crew in particular on the albums closer, a nearly 12
minute posse cut featuring 9 members of PRO ERA. So in numbers and style the
group draw endless comparisons to Wu-Tang Clan, but most importantly they
represent that hunger of early 90s MCs to be the best.
The mixtape opens with “Summer Knights” produced by
relatively unknown and in house producer Chuck Stranger. Joey spits, “It's been
a minute since they seen a style with no gimmicks / Clouds is they limits cause
we in 'em; eyes low / Squinted, more Ls but we winning acting like it's / Hard
to find women when I'm in these hard-to-find linens,” over a slow rolling beat
accentuated by chimes and a soulful croon low in the mix. As an album opener it
provides the listener with a strong inauguration to his aspirations, “Cause
when the pen in his hand, he bake ‘em up like he Jigga man”, but also lyrical
word play, “Know the haters too jelly, but fuck it though; it’s the jam”.
“Summer Knights” is followed by “Waves”. The song is
littered with too many great lines to count. A soulful bass line and keys sets
the floor for some hi-hat chatter over which Joey waxes about a range of topics:
“Since nine five
Though the mixtape is produced mainly in house, Joey chose
to appropriate two classic beats. “World Domination” is MF Doom’s “Vomitspit”
from MM..Food and “Snakes” is taken
from J Dilla’s Donuts. While tracks like “Funky Ho’$” and “Don’t Front” feature
new production from esteemed producers, Lord Finesse who most famously was the
leader of D.I.T.C. and produced for Big L, and Statik Selektah who is at the
head of the current boom-bap revival, respectively. The placement of these
beats serves a few purposes. First of all it allows Joey to represent and place
himself among the canon of artists that have inspired him while simultaneously
allowing him to, in a way, stand toe to toe with them. Each song also displays
the lyrical flexibility of BadA$$; in the instance of “World Domination” his
flow shows Doom’s influence, while his delivery on “Funky Ho’$” pays homage to
the late Big L.
“World Domination” opens with the lines “Puffin' on
stramonium / Underground like potholes and low like fossils / These bars like
God in the Smithsonian / These flows is for custodians homeless men horny old
virgin dudes / Browsing my laptop lookin' at rare fallopian tube” in a monotonous
flow similar to Doom’s. However, near the bridge Joey’s own style begins to
show; he remains tightly to the beat, vocally bouncing along and delivering a bit
of comical biography reminiscent of early Eminem, “But be patient, my studies
prove Egyptians ain't shit / Cause I believe that we could be like Neo in the
Matrix / But fuck it, I'm erratic, my momma locked me in the attic / Lead to
nitro on the static and my somatic anatomy / And come out imputed with futures and
Blueprints and Illmatics”.
Of the mixtapes 15 tracks, 8 of them feature contributions
from members of PRO ERA. Joey BadA$$ burst on the scene off the strength for
the music video for “Survival Tactics” which features fellow crew member
Capital STEEZ. The track illustrates the chemistry that exists within the group;
a communal respect for a period of music but a competitive drive to outdo each other.
Joey handles the first verse while Capital handles the second, during each
there is a point when the aggressive boom-bap beat drops away and each MC spits
a cappella: “Cause when niggas start equipin’ / And throw the clip in / Your
blood drippin’ / And got you slippin’ / Under the victim, don't know whats hit them
/ Through his spinal, just another man who defeated by survival / That's your
biggest rival, in your whole life”, “I'm in Marty McFly mode, so tell em' that
the future's back / Riding on hoverboards / Wiping out motherboards / Started
spitting fire cause my motherfuckin lung is scorched / King Arthur when he
swung his sword / A king author I ain't even use a pen in like a month or four”.
Capital STEEZ closes out the track with a scathing review of
the culture that surrounds him, “It's like we've been content with losin' / And
half our students fallen victim to the institution / Jobs are scarce since the
Scientific Revolution / And little kids are shootin Uzi's cause it’s given to
'em / Little weapon, code name: Smith and Wesson / And you'll be quick to catch
a bullet like an interception / If your man try and disrespect it, send a
message and it's over in a mili”. These moments of introspection are peppered
throughout the mixtape. The chorus for “Hardknock” which features CJ Fly is “One
day I'm tryna have a wife and kids / So I just can't live my life like this / And
I ain't tryna learn what lifeless is / So I just can't live my life like this /
I want the gold chains and diamond rings / But I just can't live my life like
this / And sometimes I just wanna light this spliff / But I just can't live my
life like this”. The song details the daily violence and drug culture that
surrounds PRO ERA in their everyday life.
Tracks like “Snakes” featuring T’nah Apex and “Righteous
Mind” continue the exploration of the American political system. The two tracks
are broken up by a feel good summer jam in “Don’t Front” featuring CJ Fly which
is produced by Statik Selektah. The
album closes with a posse cut, “Suspect”, that features 9 members of PRO ERA and
lifts its chorus from the Nas track of the same name from It Was Written. And as with previous features the song finds each
MC attempting to outdo the previous while defining themselves. It provides a
preview and builds anticipation for future releases from individual members and
the group. The song itself is just almost too much to really describe and is
instead a must listen.
The last few tracks demonstrate the strength of Joey and PRO
ERA’s dynamic: a social awareness paired with witty egotism. This dynamic also
draws the biggest comparisons to Wu-Tang Clan, in particular Enter the Wu-Tang (36 Chambers) which is
the forefather and greatest example of this dichotomy. Through the haze of
nostalgia that anchors the mixtape, Joey and crew formulate a definable
identity while displaying a wealth of talent. However, it is the nostalgia that
is the albums greatest weakness.
Near the middle of the mixtape, the songs begin to lose
definition; the wistfulness turns more sentimental rather than retrospective. The group at times seems trapped within the
perimeters of the time period rather than a new generation of flag bearers. “Don’t
Front”, produced by Statik Selektah, is an exception in that it offers an
update on the boom-bap style, hopefully there will be future collaborations.
Further associations with Statik Selektah would also bring the group larger
recognition as well as bring them into the fold of New New York scene which
includes the likes of Action Bronson.
Joey BadA$$’s debut mixtape 1999 is a great introduction to an artist and his crew, but the
album at times fails to grow outside the borders of its throw back style.
Despite its drawbacks and missteps, the young MC does display an uncanny talent
and voice that is beyond his 17 years, filling every lyrical moment with
character and charisma. But most importantly though, Joey BadA$$ and the
Progressive Era crew sound hungry for success and recognition. Unlike their
peers their intentions seem less focused on financial growth and instead on
growing and expanding the art style for which this mixtape is a love letter to.
3.5 but NOT TO BE SLEPT ON
And finally the video for "Survival Tactics" by Joey BadA$$ featuring Capital STEEZ
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