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Skillz (formerly Mad Skillz, cos he is apparently no longer mad) is a bit of an enigma. He’s like the wizard behind the curtain. The man is royally hooked up with artists and celebrities, works in the background, behind-the-scenes, and has been ghost-writing for some well-known emcees throughout his long career. To cap it off, the brief moments he’s had as a solo artist have included heavyweight names to back him up sonically: Timbaland, J. Dilla and The Beatnuts just to name a few.
For whatever reason – be it the supposed (and in my mind, mythical) “paradigm shift” that the ‘conscious’ emcees tout every few years or so (see: the latest Q-Tip interview), or the simple fact that Skillz wants to show off his…skills (aight, so I had to make at least ONE of those jokes), the man has decided to make himself visible from behind the curtain once more. Here he provides some clever rhymes (and not-so-clever ones) in his distinctive nasal delivery.
After associating with his fellow VA natives (Timbo, Missy Elliot, The Neptunes ), the significance of the backpack on this new album is purely an indication of who Skillz now runs with: that being the Okayplayer family. Okayplayer is a website created and run by Ahmir ‘?uestlove’ Thompson, drummer and bandleader of The Roots, where like-minded artists such as Common, Erykah Badu, Talib Kweli, J. Dilla, D’Angelo, Jill Scott, Pharoahe Monch and the Jazzyfatnastees have their own space and make their e-home. It’s also where a thriving online community of members and fans spend their time on the message boards (where I myself have been a long-time member). The general image and persona of these artists is of them being the lighter side of R&B and hip-hop, a cooler alternative to the musical norms of the day. In effect; “hipsters”, or an avant-garde sect of the hip-hop community. It’s a statement of the current mind-frame of music Skillz is in here and now.
So Far So Good, the first single off the album, features Common with a return to form. He raps in a slightly more laidback tone, which fits him (and the track) perfectly, providing a good contrast to Skillz’ constant hype energy. Tracks like Where I Been and (For Real) He Don’t Own Me are where Skillz really flexes and shines above the usual braggadocio and name-drops. He sounds particularly at home on something with more of a light, summery bounce to it, complete with R&B vocals on the chorus. My Phone takes the name-dropping to new levels, but the mood is kept playful. With its funky (possibly non-sampled) guitars and bassline, the track can snap your neck. The Black Thought and Skillz collab is also something to behold, as two of rap’s finest team-up on a hard driving beat.
Although I’m always impressed by Skillz’ writing and flow, and even despite the production muscle behind him, it’s the beats that let it down in the end. While Skillz himself may have new things to talk about it, the music seems to have taken a step back, bar a few quality productions scattered here and there. A track like Sick is full of energy, but lacks originality, with Skillz once-again name-checking a plethora of hip-hop artists, something that gets kinda tiring on this album. The track itself is a good idea, sonically reminiscent of Nas’ Hip Hop Is Dead, although Nas did it better. Skillz also seems to be at his bragging best, but he dwells in the shadows of the music business so much his claims are almost hard to believe. But considering he’s ghost-written for high-profile artists like Diddy, Mase and Jermaine Dupree, it’s easier to imagine that what he speaks is the truth.
Despite any letdowns of the production variety, it’s the final four to five tracks that bring you back from the precipice of shrugging your shoulders and going, “Meh”. The final one/two punch of Hip Hop Died and Preachin’ To The Choir round the album out extremely well. The former features a beautiful live trumpet solo, with the latter narrating a complex relationship saga as it unfolds, climaxing at the church. Perhaps Skillz doesn’t necessarily need the fine-tuned hip-hop production work akin to Common’s Like Water For Chocolate or The Roots’ Things Fall Apart for him to work as an artist. Nevertheless, if he’s got the right to brag so much, then I expect a considerably next-level effort on his next LP.
