Jake One: White Van Music

Back in 2004, I’m sure most remember that feeling they got when Plug One kicked in with: “Up in the 5 star tellies, saying two mic rhymes”. I know I do. It was the first time in a while the lyricism of one of hip hop’s best got pushed to the curve for the ridiculously dope beat. The motive was to break our necks and did it ever. Also, for all you WWE fans, you know you loved the John Cena intro music. These are all courtesy of one of the dopest producers in hip hop today, Seattle native, Jake One. While he brings a West Coast-like thump to tracks, he also mixes up some East Coast soul with some southern crunk to formulate a very unique blend of production. Finally, after much demand, Jake One produces his own full length LP, White Van Music, with multiple features of up and comers and already established elite. Would the expectations be too high or would we be pulled into the white van and driven away with the rhythm?

The album’s opener, “I’m Coming”, is with two producers who should stick to production. Black Milk and Nottz are by no means Rakim on the mic, but they are even hardly Diamond D or Dilla on the mic. The beat is massive though; play this joint in the car and the trunk will fall apart. The Mash Out Posse help Jake out on another banger of a beat with the very entertaining and energetic “Gangsta Boy”. Jake One provides another massive beat that’ll keep the head nodding for days. From one consistent due to another, one of the standout tracks comes from North Carolina’s Little Brother. “Bless The Child” seems like a LB reunion with 9th Wonder because of all of that soul. Jake really does a great job throughout the album suiting the feel and comfort zone of each artist; this may be his greatest strength because even if the beat is complete ass, at least it is in the vicinity of what the artist would take.

Two other standout tracks come from ‘unlabelled duos,’ Pos and Slug, and Brother Ali and Freeway. The latter hook up on “The Truth”, which is great lyrically, but a little underwhelming with the beat. The former shows Slug out-rhyming Pos (yeah, never thought anyone would get Pos, did you?) on another underwhelming beat. But, the lyricism about rappers getting shafted because of online jacking and this generation not giving rappers their full due, saves the track and deserves repeat listens.

Because this is a producers album, I try not to focus so much on lyricism and emceeing, but it is hard not to. This proves especially difficult because MF Doom drops not one, but two gems of a track over not one, but two gems of a Jake One beat. “Trap Door” and “Get’er Done” are great in content, delivery, and execution and the track is evidence that the chemistry from “Rock Co. Kane Flow” never left. Blueprint lends some dope bars on “Scared” over a fairly haunting piano loop surrounding symphony like strings. And the Detriot duo, fresh off their “Motown 25″ glory, Royce and Elzhi hook up with Jake for “Glow”, a great beat with some ridiculous emceeing…holy smokes.

While all seems well and good, the bad tracks are really, truly, very bad. This is upsetting considering all the upside this album has shown. Jake stirs the beef stew with the Young Buck featured “Dead Wrong”. The song attempts to diss the G-Unit and Aftermath clique, but does nothing more than reaffirm the fact that Young Buck is a really bad rapper. The beat is lazy and typical, way below Jake’s potential. “Big Homie Style” has much too simple of a beat to have relatively unknown artists on it, the song is boring and the hook is laughable. I can’t even explain the Casual featured “Feelin’ My Shit”, where he says that so and so feels his shit. Sean Deez doesn’t feel your shit. The Keak Da Sneak featured “Soil Raps” is flat out awful and the album’s closer “Home” should put even the most energetic listener to sleep.

It would’ve been impressive for Jake to sidestep some of these weak guest spots, but he didn’t. However, there are times where the beat just overrides a rather mediocre guest spot, like on the Busta and Bishop Lamonte featured “Kissin The Curb” (this song comes right after the Young Buck one, and it is hilarious to hear these artist go at each other on the same album on different songs), or even the Alchemist, Prodigy, and Evidence feature with “White Van Music”. This album really was a shoe in for one of the best albums of the year until the worst was heard. The guest line up does garner enough reasoning to check the album out and all of the guests you expect to deliver, certainly do, however, the rather unexciting and unskilled guest spots are noticeable and also bring down the quality of beats that Jake has provided for them. Nevertheless, this album has more than enough material to make your white van turn a rustic copper.

Overall Score: 73/100
Standout Tracks:

“Get’er Done”

“Bless The Child”

“Trap Door”

“Glow”