Monday, August 8, 2011

Lost Albums: Pro Tools


This is a new feature I’m thinking of starting. Basically, I’m gonna look back at albums that I really liked that didn’t seem to get as much pub as I think they did. I might just review them, I might just talk about them, it’s open ended right now. I may not even do any more of these. Let’s see how it works out. The first album I want to tackle is The GZA’s Pro Tools.

Pro Tools was the first album I ever bought with my own money, having found it in a bargain bin at Wal-Mart or Best Buy or some other big store, I can’t really remember. What I did remember was that I was struck by the cover art and track listing on the back, and since it was cheap, I bought it. Because it was the clean version, it was the first rap album I could play around my parents (yes, I know, I was lame) and I played it like hell. Considering how much I played it, I developed a real familiarity with it. As I did so, I started seeing real complexities in the lyrics. This was deeper than your average rap album.

The main criticism lobbed at Pro Tools is that of subpar production, and while it’s true that only having RZA produce one track didn’t help the album, this isn’t a CD that lives and dies by it’s sound. In fact, the beats do well to complement the lyrical content of the album, which is where the GZA shines.

Those who have listened to Liquid Swords know that the GZA is a lyrical assassin. It’s his calling card, his trademark in the rap game. Even as a full time member of the greatest group in rap history, he was considered the head, hence the nickname “Genius.” On this album, he returns to the lyrically fertile lands of his first classic. He’s got some gems on this one, from the first song after the intro, “Pencil,” featuring Masta Killa and and the RZA, to “Alphabets,” a concept song similar to “Labels” where he uses words starting with every letter of the alphabet, in order, to the vicious Ether-ing of 50 Cent on “Paper Plate.” The second half of the album drags a tad, with no real stand out verses, but with the sole production credit from the RZA and a general uptick in production quality, it’s a generally satisfying listen. The album ends on a high note with a live performance showing the GZA at his professional concert best.

In the end, this was a largely overlooked album that suffered from average (at best) production that still managed to shine thanks to a lyrical virtuoso performance from an old favorite of hip hop heads. There’s really no reason this should be one of the most played albums I have, but it is, and I’m thankful for it. If I hadn’t found it in that bargain bin, I might still be listening to old DMX singles sent to me over AIM or downloaded from Limewire. I think we can all agree that would have been a shame.

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