Great Lyricists: Intro & Part 1

lyricism (lyr·i·cism)

n. 1. a. The character or quality of subjectivity and sensuality of expression, especially in the arts.

b. The quality or state of being melodious; melodiousness.

2. An intense outpouring of exuberant emotion.

Bearing the above in mind, I set out to explore the lyrics of six of the greatest living hip hop artists, with one caveat: they have to operate outside of, or at least on the cusp of, 'the mainstream'. Therefore while I of course consider Eminem one of the greatest ever lyrical story tellers and I can understand the relativity of Jay-Z's lyrical ripostes, they will not be listed here, mainly because I want to try and bring to your attention some of the lesser known geniuses at work. It is difficult in many ways to identify exactly what is now 'the mainstream'; especially in a rapidly saturated genre like hip hop. The popularity and accessibility of the Internet tends to mean that almost everyone who has ever written a lyric now has a certain degree of fame and there will be names on my list that you will probably argue are well known enough to be considered mainstream. I am not demonising popularity, nor am I trying to exhibit a snobbish knowledge of hip hop, but you will not see KRS-One, Rakim or any of the other usual suspects here. Different audiences - American and English for example - consider varying artists to have had varying success too. So, if you see a name you feel is too big to be included under the criteria I have sluggishly stipulated above, drop me a comment and I shall reconsider / argue my point accordingly. I have used added links to help you investigate influences and other relevant associations for each artist, while trying to examine - in as descriptive but as simple a way as possible - their overall style and content and why I think it separates them from the competition. In no particular order...

DOOM

Now in his thirteenth year as a solo artist under various guises, Daniel Dumile or (Viktor Vaughan, King Geedorah, Madvillain) the inimitable DOOM - as he is currently monikered - has a laid back, irreverent style that focuses on wordplay and cultural references. He is a master of 'character based' hip hop; taking on various persona which allow him a huge amount of lyrical freedom. He inhabits a range of characters; from hard edged criminal masterminds to tongue-in-cheek B-Boy veterans. Many of his lyrics allude to obscure cultural landmarks and on Dangerdoom (Epitaph Records, 2005), his collaboration with flavoursome producer Dangermouse, he makes comedic use of role play based on the cult Cartoon Network shows [Adult Swim]. His influences are far and wide and he quotes the musician / philosopher Sun Ra and beat poet Charles Bukowski, amongst others, on his tracks.

"...I consider myself a writer. When I write, I write from different characters, I write through different scenes, different times. Sometimes I'll write a rhyme "in 1992." With a 1992 style, '92 references, but I'm writing it now. I look at it like I'm a fiction writer or someone who writes novels, you've got a wide range of characters - even someone who writes scripts for movies, a playwright. It always makes things more eventful. It would be too corny if I was just writing from me. I've got a whole slew of characters." (MVRemix, 2002)

I discovered DOOM through a friend in 2003, and was hooked by the time he collaborated with the incredibly talented and well respected producer, Madlib. The album was Madvillainy (Stones Throw, 2004). In both its production and its lyricism, the album uses cartoon and comic book references and paints elaborate, sometimes surreal scenarios which contrast with hardcore tales of betrayal, amongst other things, that are often conveyed - through content and delivery - with a gritty realism. What initially drew me to his lyrics was the staccato structuring and intriguing nods to things from savoury snacks to the vaudeville era; adolescent relationships to real life crime stories. DOOM is also something of an Anglophile (having been born in London) and at times his style can sound almost like cockney rhyming slang, such is the firm grip he has on his repertoire of phrases and couplets; he name checks Mr. Bean in one line, and affectionately mentions places like Brighton in another.

As a first time listener, the joy of investigating DOOM can be exhilarating and liberating. He shuns choruses and hooks for the benefit of wordplay and humour. To some degree, his lyrics require external research (especially if your grasp of American culture is as basic as mine) and I recognise this isn't for everyone; DOOM sometimes raps entire verses only occasionally deviating from his own unique vernacular. Usually, a few key strokes on google are enough to fill any gaps in comprehension and it is often so much fun picking out and reacting to familiar references that one is all too happy to research the content further, knowing that when you unearth the meaning of a phrase, or read about an obscure product he is talking about, the punchline will be all the more effective. His revolutionary approach to marketing and identity influences his lyrics too; he never takes to the stage without his iconic mask (based on cartoon character Dr. Doom, created by Marvel Comics) and he even references his alter ego when inhabiting other characters.

DOOM delights in rhyming for rhymes sake and abhors the standard posturing often found amongst hip hop artists ("And since when lyrical skills had to do wit killin a cat? / What type of chitlins is that?"). This characteristic makes him more accessible, as many music fans that dismiss hip hop / rap often cite the fact that much of the lyricism errs on the unnecessarily threatening, vacuous, lacking in irony and often just downright offensive. DOOM rails against the work of music 'critics', particularly those that focus on mainstream hip hop, preferring instead to satisfy his esoteric audience and immersing them in subjects typically avoided for being too 'nerdy', 'geeky' or 'alternative'. For me this heightens his appeal; the range of his own personal interests acts as a kernel to understanding and indulging in the world of indie or counter-culture.

“The way I do it is the way we always been doing it. All this sugar-pop, honey-coated, fake-gangsta hip-hop – that’s the thing that’s ‘new’. It feels like nowadays, to even get on the mic you have to have killed, like, four people, and that’s absurd. But real, hardcore hip-hop? That’s what I represent. And it’ll never go away – it’s just rare now…” (bbc.co.uk, 2005)

One of my favourite DOOM tracks can be found on his most recent feature release, Born Like This (Lex Records, 2009). The track is called Absolutely and - as far as I interpret it - is told from the perspective of a hardened criminal ring leader doling out advice to any potential cohorts. It commentates on the corrupt nature of policing ("Get it to sarge he gives the orders / the rest of them punks'll quit the force or get slaughtered"), the naivety of justice and the truthfulness of redemption ("it's real spooky like a real trife movie / remember that part where terminator killed Tookie?") all in the space of an intro, two verses and an outro. The track is also prefixed and suffixed by a sound clip of a policeman (probably taken from a crude 'reality cop show') describing a hostage situation; his over confidence is tangible and the air of irony emitted by its inclusion gives huge weight to the lyrics encased within.

Recommended tracks:
Let Me Watch (as Viktor Vaughan) - Vaudeville Villian (2003)
Hoe Cakes - Mmm...Food (2004)
Old School Rules (feat. Talib Kweli) - Dangerdoom (2005)
Cellz (feat. Charles Bukowski reading an exert from his poem Dinosauria, We) - Born Like This (2009)

Connected artists:

KMD, Madlib, Dangermouse, Quasimoto, Saul Williams, MF Grimm

Connected sites / articles:

Nuyorican Poets Café
Marvel Comics
[Adult Swim] on Cartoon Network

American Songwriter article - 2009