Abundance
February 4, 2009 by controversy
The Spin: Platinum Pied Pipers – Abundance
Released January 20, 2009
2009 Ubiquity Records
[rate 4]
Platinum Pied Pipers‘ mixtape followup, called Abundance, to the critically-acclaimed Triple P is a collection mostly of remixes of earlier work, many coming from that same Triple P album. PPP incorporate guest appearances from an array of mostly underground hip-hop and R&B/Soul artists for the majority of their work. Considering earlier work, this album represents a fairly healthy departure.
Image courtesy of www.myspace.com/platinumpiedpipers
As hip-hop has gradually made a move back toward electro, PPP have managed to segue with relative ease, a true testament to their versatility and musical abilities. In an era of hip-hop that sees the mainstream managing to dumb down even farther, both lyrically and musically, Waajeed and Saadiq manage to make sophisticated hip-hop that’s very danceable and accessible.
The album starts with an interesting instrumental intro that prepares us well for the type of electric sounds we might not be expecting after hearing the vintage Detroit soulful hip-hop sounds The Pipers’ followers may have become accustomed to. The album’s third track, “Shotgun” features none other than J Dilla, whose notariety as a vocalist was attained through Slum Village, the very same group that Waajeed produced for after Dilla’s departure from the group. The composition of the track creates such a synnergystic relationship to Deezy’s vocals that it’s easy to become submersed into the music to the point of outright forgiveness for somewhat lackluster lyrics. It’s interesting to note the unorthodox drum patterning here as a clap comes on the downbeats, accented by offbeat kicks.
Image courtesy of www.myspace.com/platinumpiedpipers
The Sa-Ra Creative Partners are the sort of wildly ambitious and truly left field creative force that producers and only the most devout followers love to follow. It doesn’t take two guesses to take a stab (forgive the play on words) at the content of “Deep Inside.” Sa-Ra’s vocals are accompanied by the lovely voice of Irisna Gayle. The lyrics are the type of suggestive lyrics that are adult enough to be captivating without being so over-the-top that they lack sophistication and maturity. In true midwestern style, and following the pervasive trend of today’s hip-hop, the track features a House drum arrangement, only to be accompanied by vintage soul chords to keep it more authentic Great Lakes’ State fare.
I have two major criticisms of the album would in an at-times grating tendency toward half-bar drum loops and the puzzling fact that after track seven, the “Long Red” by Mountain break seems to appear in almost every track. That same seventh track manages to overcome both these obstacles, mostly thanks to excellent vocals and a super-catchy melody, incorporated by Zeno. I can’t honestly say whether Waajeed or Saadiq are assisting in the writing of melodies, but for whatever reason (Perhaps the beats are that inspiring?), so many of these tracks seem so hyper-catchy despite lacking lyrical integrity that after a few listens, you’ll find yourself stuck with several songs stuck in your head, seemingly at once.
“Stand For Something” follows suit. Coultrain and Jamila Raegan give impressive vocal performance, and the subtly synocpated keyboard combine incredibly well with the bass, drums, and string pad for a very interesting and infectious track. Paul Simon’s “50 Ways To Leave Your Lover,” one of the more-sampled songs in hip-hop, gets re-made here with a Brazilian twist. The outcome is really interesting, especially considering that one of the great attractions to the original is the march-style snare part, which some might recognize from Tupac’s and Eminem’s respective hits that borrowed from it.
Image courtesy of www.myspace.com/platinumpiedpipers
Overall, this album’s very good. While there’s certainly the potential for a more fulfilling album, in terms of concept and cohesion, it’s hard to argue the musical result these two have accomplished. Also, in the future, if Waajeed could stay away from using the same break over and over and incorporating half-bar drumloops, that’d probably be appreciated as well. Still, the innovation in the drums, keys and otherwise is commendable.
While Chicago’s Barack Obama may bring hope in a more practical sense for every regular and not so regular American out there, it may behoove hip-hop’s followers to look next door to Detroit for change in the hip-hop game, and Platinum Pied Pipers appear poised to bring it in abundance. I give the mixtape four stars out of five.
