The OTHER Other "High Rollers"

I got another "High Rollers" 12" to talk about. This time it's by Proof (R.I.P.). I've got a bunch of these white label 12"s by Proof and have been looking for an excuse to write about one, so here we go. After Ice-T released his "High Rollers" in the 80s and Father MC released his in the 90s, came Proof's in the 2000s. There's no date on the label, but we know from promo CD singles (plus the general release of the corresponding album and music video) that this came out in 2005.There's also no credited record label, but this is a single off his Searching for Jerry Garcia (I assume a combination of an arbitrary Search for Bobby Fischer reference, with Garcia added due to his penchant for glorifying pot smoking) album on Iron Fist Records, which was Proof's own label. It's actually the B-side, though, so let me briefly cover the A-side first.

Hmmm... Impressions of "Gurls Wit da Boom." Let's see... Oh, I got it! It sucks!

Yeah, it's pretty crap. If this was anybody's introduction to Proof, they'd be completely baffled as to how he got his reputation as D12's most credible lyricist. It's from pretty much the weakest period in his career, when he was trying to crack mainstream success as sort of a 50 Cent Lite. He's doing that soft vocal fry thing with his voice, and lyrically he's just telling us that he likes sexy girls for five minutes ("I know you suck dick. Well, that's my accusation. I'm really wonderin' if you're acceptin' applications"). I do like that he's making a L'Trimm reference almost 20 years after the fact, but he never really plays that up in the hook or anything, which might actually be for the best. I mean, vocally, it's not so much terrible or anything, it's just mediocre and sounds like the most crossover stuff of that period. It's really the minimalistic bip-boop-a-beep-boop instrumental that really brings it down. Say what you want about EDM replacing hip-hop aesthetics, but I'm glad it killed this kind of club beat everybody was rapping over in the 2000s.

"High Rollers" doesn't have a lame club beat at all, though. It's based on a real cool, old school sample... the same one that Poor Righteous Teachers used for "Word Iz Life," but this one chops it differently, leaving part of the vocals in the loop as well. It's also got some high profile guest verses by Method Man and B-Real. This time "High Rollers" is just a cheesy pun - they're high and they roll blunts, get it? And even the vocal in the loop is saying "I'm high," nyuck nyuck. But while the subject matter is old news, especially for B-Real; they come up with some cool wordplay and harder deliveries that sound great on the track. Predictably, Meth steals the show at the end, but everyone comes off well on this, even B-Real, who I'm not often swayed by.

The 12" is full of versions of "Gurls:" Explicit, Clean, Squeaky Clean, Instrumental and Acapella. But there's just the one version of "High Rollers," here misspelled as "High Roller." "Gurls" is also the one they shot the video for, again they were clearly shooting for the kind of audience Fat Joe and G-Unit were pulling in. But I think if they'd pushed "High Rollers," instead, they would've gotten more attention. Trying to blend in and sound like everyone else is how NOT to draw attention to yourself; not the best strategy for selling records. But if you're collecting today, this is worth getting cheap for the B-side.

Tony D, Redman, Meth, Pace Won and Young Zee

So, I've blogged once or twice before about how the US end of Ruff Life Records dropped the ball on The Outsidaz full-length, leaving all the 12" singles and what-not to their UK division. But they did get one nice 12" out of their doors before closing up shop - or two, strictly speaking. A limited edition (though I don't know just how limited... it doesn't seem to be that rare or hard to find all these years later) double 12" single of "Who You Be," The Outsidaz album cut featuring Redman and Method Man.

These were their big, heavy-hitter guest appearances (and you'll notice, they only let their biggest Outz members on the track, too; no junior members), so I'm not sure why they relegated this song to a limited edition vinyl only release, as opposed to a major single with a music video and what-not.  I guess they expected mix-tape DJs to blow this up a lot more than they did. Plus the record label was dying, so that might've been all they could afford.

Anyway, the first record focuses on the album version. If the song feels like a Redman track with guest stars, as opposed to an Outsidaz song (and it does to me), that's because it's produced by two of Red's regular producers, DJ Twinz (yes, it's really a pair of twins). It's a little soulless, but ultimately a pretty effectively head-nodder with a hook built around each member bigging themselves up. It's got a cool freestyle flow, with the MCs passing the mic back and forth, everyone getting the chance to rhyme more than once, so it doesn't just come off like your "plug in your guest's acapella here" collabo.

Interestingly, it's Pace Won who really shines here. I mean, they're evenly matched enough that fans of any particular artist will probably prefer whichever MC is their favorite.  But Redman seems stuck on juvenile blowjob rhymes, Meth kinda phones it in, just relying on his delivery, and Zee sounds like he's saving his best material for other album tracks with a bunch of obvious (and now dated) movie references. But Pace gives one of his best performances, hard and lyrical, the kinda shit you wish he'd kick more often. Everybody sounds good, though, don't get me wrong. These are pros, and it's evident.

So you get the full break-down, with Clean, LP, Instrumental and A Cappella versions. But, while it's cool that this track sounds like it's ripped right off of a Redman album (because Redman albums are good shit), but there's definitely room for instrumental improvement, especially if this is gonna be a single.

And that's where the second record in this set comes in. It's dedicated to nothing but exclusive remixes of this track. You've got one mix by Ruggedness, a Philly producer who presumably also produced that test press-only "Keep On" remix. It's a little more high energy, but still has that tacky, studio-made feel where all the sounds are clearly computer-generated. Still, it's well done and the fake horns will pull you in despite yourself. It also does a really good job of matching the vocals, punching in around their vocals in a way that shows they definitely custom-made the track for these verses.

The second mix is by Newark underground legend Gov Mattic. This is kind of a weird one. The vocals are sped up a bit so everyone sounds squeaky. This is definitely aimed at clubs, which is strange, because this is not a club song at all. And it's another sample-free artificial sounding beat (except maybe for the actual drums), but that's what club music is, so that fits here. It's well made; I just have a hard time imagining who's the audience for this version.

Finally, we have the Anthony Depula mix. I kinda feel this would've received more attention, at least among collectors and more serious fans, if he'd signed it with his professional name, Tony D. This is the most organic sounding of any of the versions, including the album version. It's built around an ultra-deep bassline thudding drums and an eery string riff in the background. It's still not among Tony's best work... I wonder if everybody working on this project was instructed by the label that they couldn't afford to clear any samples, so don't use 'em. But this mix has a deep underground, street feel; like the kind of shit you find when you dig up a super obscure indie 12" pressed in the mid 90s. A labor of love produced by a bunch of struggling cats with cheap equipment and undiscovered talent.

So, Tony's is the winner for me; but I can't help like feeling the definitive music for this song, the one that could've blown up, was never recorded. Because there's an A Cappella in this set, other producers have tried their hand online. There's a Madlib one floating around out there, which sounds promising on paper; but he doesn't pull it off either.

It comes in a solid black (meaning: without the standard hole cut) sleeve with a sticker cover. Perfect mix or not, this should be a crate staple for any Outsidaz fan.