KRS-One Devastates Mainstream Hip-Hop with The Sneak Attack!
Written: May 07 '01 (Updated May 08 '01)
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Product Rating:
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Pros: Intelligent, socially conscious lyrics.
Cons: No guest appearances. Beats are good, but nothing commercial radio will embrace.
The Bottom Line: KRS-One is incapable of failure. He's never made an album that was average or below average. The Sneak Attack is no exception. For real Hip-Hop, go with the authority.
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| madtheory's Full Review: The Sneak Attack [PA] by KRS-One |
The Teacher has returned from his sabbatical.
Concerned that commercial Hip-Hop is succumbing to the player/thug/gangster mentality that currently has power over mainstream rap, KRS-One returns again to show Hip-Hoppers the true path. His latest album, The Sneak Attack is an assault on these materialistic and negative regimes, calling into question their skills, heart, dedication to the art. Backed up by Kenny Parker handling a great deal of the production work, KRS-One lets loose on a variety of social and political topics. When KRS-One attacks, everyone is on blast.
Track Listing
1. Intro
2. Ghetto Lifestyles
3. Attendance
4. Hot
5. Why
6. Doth Thou Know
7. The Lessin
8. The Mind
9. Hip Hop Knowledge
10. What Kinda World
11. I Will Make It
12. B Side Intro
13. Get Your Self Up
14. Krush Them
15. Hush
16. The Sneak Attack
17. Shutupayouface
18. False Pride
19. The Raptizm
The album begins with a short introduction, then eventually moves into “Attendance”, the third track off the album. This track quickly became one of my favorites. KRS produces one of those patented hardcore BDP-type beats, using a restrained bass kick and synthesizer melody. In it, KRS rips a classic battle-type freestyle, quickly re-establishing himself as one of rap’s premier emcees.
Kris Parker challenges those rappers with their heads in the clouds with “Hot”. In no uncertain terms, KRS lets the listener know what he thinks of all these rappers claiming to be something they’re not. Grand Daddy I.U. and Jazzy Jeff of the Funky 4 + 1 craft an intense beat using a buzzing bass line and synthesized horns. One complaint I have about this song is that the bass line is practically screaming to be turned up. If I.U. and Jeff would have amped up the bass a la Dead Prez’ “Hip Hop”, it would have made it easier for “Hot” to become an underground hit. KRS spits these rhymes over the track:
“I don't even sound like the rest of you kiddies/
I study the ways of God, you studyin t*tties/
And a**, I pity your class/
Cause you come out with a blast/
But you're trash, so you really don't last/”
“Why” reminds me a great deal of “Why Is That” off Ghetto Music: The Blueprint of Hip-Hop. Not because the two songs are similar lyrically or musically, but because they both deal with confronting conventional wisdom. “Why Is That” dealt primarily with the genealogy of characters from the Bible, while “Why” questions everything from federal and local governments, to images portrayed by the media.
“Hip Hop Knowledge” contains a rap milestone. Already an extremely versatile emcee, KRS-One shows that he has mastered yet another rapping technique: fast rapping. No, KRS isn’t biting Bone Thugs or Twista, but takes the speed and highly syncopated style they use, drops all melodic elements, and slows it down slightly to help it blend into his existing style. It’s remarkable that a veteran with 15-plus years in the rap industry is still flexible enough to incorporate new styles into his performances.
The lyrics themselves in “Hip Hop Knowledge” are tight as well. KRS talks about his attempts to bring peace and consciousness to Hip-Hop, and others supported him in this pursuit. In the song, he gives extra praise to West Coast rapper Xzibit for his support in KRS’ work with the Temple of Hip-Hop. The two obviously have some level of respect for each other, as evidenced by KRS’ guest appearance on Xzibit’s cover of the BDP classic, “The Kenny Parker Show” from BDP’s Edutainment LP.
On track 14, “Krush Them”, the Blastmaster shows contempt for the inane and materialistic rappers currently infesting the rap industry. Producer Domingo puts together an uptempo bass line to drive the track, and plays a simple melody on keyboards for the melody to back up Parker’s verbal assault. In the second verse, KRS strips a little of the sparkle off the ‘bling blingers’ with these lines:
“So why did I have to come off my sabbatical?/
Battle you? My metachromatical will splatter you/
I got another track to do, I can't mack with you/
Your rhymes are fictional, mine are factual/
I'll embarrass you, I'm glad to do/
I'm the teacher, but in the streets it can be bad for you/
I feel sad for you, cause you frontin like you gettin ahead/
but you really on E instead/
I've come to show these people you're not my equal/
All you want is the cash and a hoe in a see-through./”
This album easily lives up to the long line of on-point albums that KRS-One has produced in his own name as well as BDP’s. His rhymes are intelligent and articulate, and still contain the lyrical inferno that fans associate with the Blastmaster. The only aspect of the album that anyone could possibly find fault with is the production. The beats stay true to the fundamental, stripped-down sound that BDP is known for, so it’s natural, that The Sneak Attack doesn’t sound as glossy and finished as a lot of mainstream rap.
However, those who listen to KRS-One and rappers like him know that the emphasis should always be placed on lyrics instead of beats. In fact, the mixing on The Sneak Attack reflects this musical philosophy. The volume on KRS’ vocals is increased, while the accompanying music is pushed further into the background than you’ll hear on most rap albums of today.
So my conclusion? If you’re a fan of KRS-One, go buy the album. If you’re a fan of tight, intelligent, spiritual lyrics, go buy the album. If you hate KRS-One, but love thugged out, ‘bling bling’, playa-hata hip-pop, go buy the album. You’re the one who needs it most.
FRESH! FOR 2001! You SUCKERS!!!
Recommended:
Yes
Great Music to Play While: Driving
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madtheory
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