The Secret Meetings of Fatboi Sharif

Fatboi Sharif is an exciting (and I don't throw that term around loosely) new Jersey MC.  I first heard him on Shawn Lov's last album, where I have to confess he really didn't make much of an impression at all on me.  So I almost didn't bother checking out his new online material, but I'm glad I did, because that stuff definitely made an impression.  His style and content feel very influenced by UG, but with a softer, Scott Lark tone to his voice and delivery, and lyrics reminiscent of early Jedi Mind Tricks, back when they were creative and packed with Children of Babylon members.

And this is his debut solo EP, Ape Twin.  It's available on an official, pressed CD through Fatboi's Facebook here.  Of course there's a digital version, too, which is considerably more accessible.  And there's a previous digital album, Age of Extinction with another MC named Sydetrak Imperial.  It's not uninteresting, but Ape Twin is the much more polished and cohesive work, so I'd really recommend just starting there.

It's a tight EP: eight tracks including skits and songs that average two and a half minutes or so.  And there are a couple of guest MCs, neither of whom I've heard of (Light the Emcee and Nick Jackelson), but they do a good job fitting in.  It always sucks when an artist is making something original and a couple of guests phone in completely generic thug verses like they'd given no consideration towards what project they were being asked to contribute to.  Here, everybody's on the same page: "you can hit the bullseye and still not know how to throw your darts right.  Stand tall over all like my name was Bill Cartwright.  I spark light more than the sun, moon and stars might.  Knock you on your feet like the mutant named Arclight.  Vertigo, Avalanche, the tree of life, grab a branch.  Teleportin' Nightcrawler to the Savage Lands.  This the battle plan, load the mutants in the caravan.  A surgical mystic like Dr. Strange with damaged hands."  Consequently, the listening experience is constantly shifting, always crazy film and comic book references and strange visual imagery, so it's the sort of CD you can just let loop indefinitely, a surreal experience.

So does that mean there isn't any substance to anything he's saying?  Well, there's definitely a "what the hell is he talking about" aspect to his work ("the city from Children of the Corn, mistrial, rumors of kiddie porn.  Prisoner escaper, conspiracy on paper, JFK affair with Elizabeth Taylor").  If you're hoping for direct metaphors like mermaids represent one socioeconomic group in conflict with another, a la "Planet E," I'm not sure it ever gets that one-to-one.  And it doesn't help that he has a tendency to slur some key words.  A little more enunciation and a few less pop culture references would be welcome.  But if you roll with it, it's really not so impenetrable.  There are definitely themes of personal growth and transformation that are probably more than just accidental.  Like the Marvel-themed guest verse I quoted above can be more than just a comic book rhyme, but a relatable invocation of talented artists going out to make their way in the world.  You get it.  And the fact that the lyrics are indirect and a little difficult to discern makes repeated relistens rewarding, where the pieces slowly fit together and his meaning becomes each little bit clearer.

Musically, yeah he's a younger artist, but he's not on some mumblecore, sloppy tip.  His production's the sort of light boom-bap you would've expected to find on an indie 90s CD.  That fits, as Shawn Lov produces one track, and one of his regular collaborators, Raiden, does two others.  I can't say this EP's for every head, let alone mainstream audiences.  You've got to be a bit of a backpacker to bask in the lyrics and rhyme schemes; and if you're not going to do that, you won't find enough else to sustain you.  But I hope Sharif finds his audience with this, because the right people aren't just going to "get" Ape Twin, they're going to be surprised how much they enjoy it.  And I definitely look forward to hearing more from him.

The Compton's Most Wanted Ultramagnetic Diss You Never Knew About

I've gotta share some credit with Marc of Black Pegasus Records for this one.  He asked me recently if I remembered a time Compton's Most Wanted took a shot at The Ultramagnetic MCs, sort of suggesting they were out of touch old school.  And it did sound sort of vaguely familiar... like I could hear MC Eiht saying "Ultramagnetics" in my head, but that was about all I could remember.  He thought it might've been on the remix of their 1991 "Compton's Lyncin'" 12", which was one of the later singles off their second album, Straight Check N 'Em.  It's one of those generic diss songs, where it's going pretty hard but not really directed at anyone in particular.  They're cutting up the Ice Cube line, "last year I was Ruthless, now I'm Lynchin' motherfuckers."  I generally think they peaked with their first album, but they never really fell off, and this was one of the better singles off this album for me.  Especially the remix, which comes with a tighter sample that Special Ed had already used for "Ya Wish Ya Could" the previous year.

Anyway, that was easily checked, but it wasn't there.  I even checked the instrumental, in case there was a little hidden shout out at the end or something.  So then I started listening to other CMW songs from around that period.  "They Still Gafflin'" because it was the B-side to "Compton's Lynchin'," and other more diss-oriented tracks, like "Duck Sick 1 & 2" and even the extended version of "Rhymes Too Fonky."  No dice.  I was starting to wonder if I'd ever actually heard what Marc was talking about, or if I just let him put the idea in my head like some kind of autosuggestion.  So I kinda gave up on it... and then I found it by accident.

So, on that "Compton's Lynchin'" single, besides the remix, instrumental and B-side, is a shorter Radio Mix.  It's a Radio Mix of the remix, meaning it uses the newer remix instrumental rather than the album version.  But the album version and remix both have the same vocals.  The Radio Mix, though, is one of those where instead of bleeping the curses, or cutting to silence, playing them backwards or whatever, Eiht recorded all the vocals over with adjusted cleaner lyrics.  So, you know, "I don't give a fuck," becomes "I don't care jack," etc.  Basically the same rhymes, just with little substitutions.

But I guess one line was too radio unfriendly that a simple, single word change or two would do, and so that felt they had to swap out the whole thing.  Or maybe they were intentionally tucking it away in the Radio Mix to be a little coy.  I couldn't say either way, but the whole song is the same, minus a few phrase swaps, until midway through the second verse.  I was only listening to it because I'd already given up searching and was just letting the record spin while I was on the computer.  Then I heard the lyrics go from, "the motherfucking power after hour.  No air to breath, cause all the suckers we devour," to "with your played out rhymes, you can't forget it, 1970 Ultramagnetics."  It is real!


So, to be clear, the whole song's not an Ultra diss.  Again, the rest of the verses are unchanged from the original version, none of which have any reference to those guys in them.  And I don't even think the line is even meant to be taken as a direct diss at them, per se, though it's definitely insulting to them.  I think the idea is the generic, sucker MCs they've been talking about the whole song are, in this line, being called tired and hackney, like played out Ultramagnetic 70s rap.  Not that Ultra were a thing in the 70s, of course; their first single was in 1986.  That means this line would've come at them even before their second album, when they signed to MCA (Funk Your Head Up was '92).

So it's a little harsh, no doubt, and completely pointed, since he used their name specifically.  But I doubt it was an indication of a serious beef.  Just a fun little shot that makes an otherwise completely skippable radio mix worth checking out even in 2018.