Recording Industry Crimes
Case #1993

"The Best Album Elektra Never Released"

Perpetrator: Elektra Records
Victim(s): Hip-Hip duo K.M.D. (Zev Love X & Subroc)

In the early 90's, countless record labels unfairly slept on many hip-hop acts, either refusing to sign them or simply by continually delaying albums scheduled for release. This was a time when the music industry was very apprehensive and nervous about the many up and coming rap artists, it wasn't the most opportune time for hip-hop groups, who were often quite controversial, to try and find recording deals. During an era when crews like Brand Nubian and the Jungle Brothers were kicking fresh, pro-Black rhymes, New York based K.M.D. already had an album under their belt (1991's "Mr. Hood") and were ready to unleash their sophomore effort onto the eager public.

Unfortunately, their plans of including a picture of a Sambo-like figure being lynched on the cover of "Black Bastards" prompted Elektra to completely shelve the album. It seemed like the company was simply looking out for themselves and couldn't take a little of controversy, as the album's artwork was never intended to garner attention just for it's outrageously controversial value. The lyrics of Zev Love X, who would later become the artist known today as MF Doom, and his brother Subroc were aggressively afrocentric with an unmistakable raw, old-school flavour. Anyone familiar with Brand Nubian would have instantly identified with the subject matter the two emcees of K.M.D. rapped about, hence their proposed artwork seemed as appropriate to the duo itself as to anyone who knew who K.M.D. were was back in 1993.

"The Evidence"

Over the years, the album has been confined to bootlegged releases and unofficial versions with missing tracks. It's a shame too, because the actual music is of excellent quality. The bouncy lead single "What A N*gga Know?", which was also pulled by Elektra amidst all the controversy, is a perfect example of this. As with much of the production on the LP, the beat is fairly minimal, based around a sprightly keyboard loop and understated bass, and it is the perfect plateau for Zev Love and Subroc to drop their lighthearted yet militant brag raps, full of confident punchlines and clever wordplay that was cutting edge when the album was recorded.

A nice variety of subjects are touched upon, and none are discussed in the traditional way. The two "Plumskinnz" tracks are superb metaphorical songs where Zev and 'Roc depict and describe women as plums. Yes, the fruit.

It's no surprise the concept turns out wonderfully, a beautiful jazzy beat makes exceptional use of soothing piano keys, and the production (both tracks use the same beat) truly helps make these tracks as memorable as they are. But even with beats as chill as those, the creative rhymes are really what shine here. Many artists have spoken about women and their sometimes unethical behaviour, but I haven't heard any that can compare to the magic and originality of these two tracks. Case in point, a few excellent lines from Zev Love's verse, illustrating females that resort to prostitution:

"Beware the grocer when ya crush 'em with your thumbs though
See no grocer wants bruised plums, yo
Once bruised one time, 'tis forgotten
And once the plums is rotten, the skinzz'll cut your gums
At the corner store a sign reads, 'For Sale: Plumskinzz Fruit Cocktail'
Only ones runnin to the corner is pale males
Open all night, the corner plumskinzz is stale
Back to the honeyplum that's swift with this
And if the plum is pit I guess I'll just plead fifth"

Speaking about creativity, even the track about getting high, "Smokin' That Sh*t!", deviates nicely from the usual array of tracks about everyone's favorite recreational herb, the emcees and their guests even go as far as to warn their friends to stop smoking those bad drugs, all in all it's a fun posse cut. K.M.D. knows how to have a good time making music without sounding childish or immature, and I feel the art of simply enjoying yourself on the mic is rapidly becoming an extinct form of emceeing, which is very disheartening.

Both Zev Love X and Subroc have chances to wreck tracks by themselves, and both rappers do nothing but thoroughly entertain. It's a real treat to hear Zev before he was MF Doom, back when he was a young, hungry emcee yet to experience the tragedy of Subroc's death in a car accident which happened shortly after the album was recorded. It's always enjoyable to witness the transformation an artist goes through in his career, and some of the differences between Zev Love X and MF Doom are easily apparent, while others are not so visible upon initial inspection. Zev's voice was higher pitched, and his flow fairly unrefined (in a dynamic and charismatic kind of way) when compared to MF Doom's vastly improved cadence.

His social commentary on the title track "Black Bastards" is insightful and even satiric, his similes delightful as ever. Subroc would never be content if he was considered any less of an emcee than his brother, and the brag raps on his Jamaican influenced solo adventure clearly warrant any claims of dopeness he may express. MF Grimm, a long time associate and close, personal friend of Zev Love X, appears on the "What A N*gga Know Remix" and doesn't disappoint, his verse is just an indication of the great emcee he once was, before all of his unfortunate medical conditions.

If there are any downfalls to this great record K.M.D. finally managed to release, it's the sound quality of some of the tracks. Since the original masters of the album were lost, the majority of the songs had to be recorded from previously existing bootlegs; they were the only media that still had the material. This most notably affects "Sweet Premium Wine", this song which tackles the lighter sides of alcohol consumption is a very nice track but the poor audio quality isn't something that will be easily forgivable by many listeners. A few other songs suffer some grainy quality, but others, like the album's lead single, sound perfectly fine.

"The Conviction"

Whose fault is this? In truth, only Elektra Records can be held accountable for shelving such a charming record all because of misunderstood artwork and letting this happen to it, it's definitely a crime against hip-hop. I salivate at the thought of a properly mastered version of this album.

You're not going to find "Black Bastards" at any record store, and you'll be hard-pressed to find real copies of it available for purchase on the internet, but if you enjoy fun hip-hop very similar to what Brand Nubian and the Leaders of The New School were doing back in the early 90's, hunt down yourself a copy of this. Even if it's just an unauthorized, second hand bootleg.

4½ Stars

Other reviews of MF Doom albums:

Viktor Vaughn - Vaudeville Villain

King Geedorah - Take Me To Your Leader

MF Doom - Operation: Doomsday

Recommended: Yes

Great Music to Play While: Hanging With Friends