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Artist |
Lil Jon & The East Side Boyz |
| Title |
Pull Yo Hood Up |
| Label |
TVT Records |
| Reviewer |
Joe Hartlaub |
| Rating |
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Rap music has to put up with a lot of stereotypes. Foul language, boringly
repetitive beats, misogynistic lyrics...the list goes on and on. Giving
offense is at times part and parcel of the genre. Public Enemy is a classic
example; their trademark, the image of a policeman in the crosshairs, was
particularly offensive for some. Yet, even if one could find no agreement
with their politics, if you will, their sound, a loud cacophony of found
noise, samples, and spoken word, was at its worst interesting and at its best
the stuff of genius. Luke S. and 2 Live Crew were banned in some parts of the
country for their lyrics, a juvenile mix of cheerful obscenity and winking
tribute to booty and all of those other things that make life worth living.
Say what you will about 2 Live Crew, they weren't the world's best rappers,
and they weren't especially socially redeeming, but they never tried to be
anything more than they were, which was essentially a streetwise, sassy
version of Doug Clark and the Hot Nutts.
Lil John & The East Side Boyz will never be mistaken for P.E., or 2 Live
Crew, or anyone else who might be musically or socially redeeming. There is
no imagination, no art, no controversy here. The cover shows Lil Jon and The
East Side Boyz with a couple of confederate flags burning behind them. This
CD doesn't take off on southern white heritage, however; everyone, regardless
of race, color, or heritage, is a muthafucka, bitch, or nigga, and that's
only if they like you. Since the lyrics are shout-chanted with no sense of
dynamics, for the most part, from one track to another (there is a nice
changeup on one tune, a little ditty of the frustrations of premature
ejaculation, from the lady's point of view) and the lyrics are along the
lines of "Nigga fuck you! Nigga fuck you!" It's hard to tell if you're friend
or foe to these guys. Not that it makes much difference, either way.
This
stuff is shocking for the first minute or so then rapidly becomes...boring.
And the beats? Well, if your 10 year old brother is walking around with extra
change in his pockets these days, and no one knows where he got it, I can
solve that mystery. He probably sold some beats to Lil Jon. Nope; no matter
end of the political spectrum you're on, if you've given up mouth-breathing
as an avocation there is not much happening here. Chuck D's music for "Dark
Angel," which sounds like he phoned it in compared to anything on IT TAKES A
NATION OF MILLIONS... beats anything on PUT YO HOOD UP to hell and back.
Actually, the best thing on PUT YO HOOD UP is "Bia Bia Check In," an
interlude consisting of a telephone call to a radio station which is more
entertaining by half than anything else on here. The rest of the CD, for the
most part, sounds like is a series of military march cadences for an army
that talks big and bad but is going to get its butt kicked the first time
they see combat due to lack of discipline. When it's not boring it's
unintentionally funny. Often it's both at the same time You'll laugh yourself
to sleep with Lil Jon. Sorry, but this is the most offensive collection of
songs since "Gangsta Bitch" and the most boring collection since the last
Crash Test Dummies CD. Next time, if Lil John & The Boys get a next time,
they hopefully will focus on the music and the lyrics. What we have here,
however, is nothing more, or less, than the musical equivalent of armpit
farts.
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© 2001 AMZ/music-reviewer.com Robert R. Lewis
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