By Steve Weinstein
By Bryan Bierman
By Lindsey Rhoades
By Chaz Kangas
By Ben Westhoff and Sarah Purkrabek
By Jena Ardell
By Jesse Sendejas Jr.
By Katherine Turman
Fresh's sound returns to that point in the mid '80s just before rap was totally transformed by digital technology, and imagines a sort of "What if . . . ?" alternative future where drum machines and synths, rather than looped breakbeats and sampled licks, remained hip-hop's building blocks. This alternative future is actually what transpired as reality throughout much of the South. The brittle rigor of "Planet Rock" electro, traded in by New York rap producers in favor of sampler-assisted retro-funk fluency, survived and thrived as Miami Bass and New Orleans Bounceparty-oriented styles organized around 808 bass-booms, call-and-response chants, and crisp'n'dry programmed beats.
Like its Crescent City rival No Limit, Cash Money has gone from local hero status to nationwide dominion by merging bounce- influenced rhythms with gangsta rap. The bounce element is what gives Fresh's drum programming its hop, skip, and bumpthose rat-a-tat-tat snare rolls and double-time/triple-time hi-hats that feel simultaneously frisky and martial. He's effectively using drum machines to build his own brand-new breakbeats, rather than depleting further the exhausted seam of archival '70s funk. But although he doesn't sample, Fresh is into surreptitious plagiarism, ripping off everything from S.O.S. Band rhythm patterns to lite-classical's pantheon of schlock. I wouldn't be surprised if Fresh's tinny toy-synth renditions of overfamiliar melodies are inspired by cell phones that offer a select-your-favorite-ringing-sound range of Mozart/ Chopin/ Tchaikovsky-type themes.
Alongside Fresh's sly steals and his manifest drum-machine virtuosity, there's another factor that gives Cash Money records their edge over No Limit's. At first I thought I was hallucinating the reverb-smudged Balearic house piano in Juvenile's "Spittin Game," the brief burst of Roland 303 acid house bass-wibble in Lil Wayne's "Loud Pipes." But no, it turns out that Fresh used to work with legendary Chicago house producer Steve "Silk" Hurley. Which helps explain the eerie technoid flavor of Juvenile's "Ha" and B.G.'s "Dog Ass," and the spectral echoes elsewhere of early Todd Terry, Belgian hardcore, Sheffield bleep'n'bass, hip-house, Uberzone. (In fact, a bizarre, unacknowledged convergence took place between rave and hip-hop/r&b this year, audible in the snaky techno-pulse writhing inside Ja Rule's "Holla Holla," in the angular stab-riffs driving Ginuwine's "What's So Different" and Destiny's Child's "Bugaboo.")
From the tinkling timbales in"HighBeamin'" to the jungle-at-midtempo mashed snares of "Remember Me," the rhythm programming on Lil Wayne's debut is like a drum choirprecise yet joyous, a symphony of syncopation. Overall,Tha Block is Fresh's most accomplished and intricate production so far, so riddled with stereopanning subtleties and sonic witticisms it verges on "headphone bounce." Alongside the mock-classical flourishes (pseudo-string ostinatos, synthi-horn fanfare, harpsichord), there'sa pervasive jazz-lite flavor, courtesy of bassist Funky Fingers and Mannie Fresh's own guitar (at times redolent of the echoplexed ripple of folkadelic minstrel John Martyn, or the plangent lacework doilies spun by ECM jazzbos Ralph Towner and John Abercrombie). This relaxed, jazzual vibe overlaying the fierce beats reminds me of when jungle tried to go all "musical" and "intelligent." It exudes a sort of cheap expensiveness, a nouveau riche sheen. And in this context, that's perfect, because Cash Money isno duh!all about the Benjamins, baby.
Mercenary and aesthetic impulses have never been at odds in black pop; you can't map white bohemian complexes about materialism onto breadhead seers and business-savvyanarcho-surrealist shamans like Lee Perry and George Clinton. Indeed, "getting paid" has a sort of liberating charge in itself, given the history of black artists being shortchanged and swindled by the white music biz. Which is why it's not just Cash Money founders Ron and Brian Williams, plus friends and family, who are buzzed by the label's $30 million distribution deal with Universala pact that allows Cash Money to retain ownership of its recordings.
Still and all, there's something faintly disheartening about the fact that the Cash Money worldview is fundamentally no different from Schoolly D back in 1986. The terminology goes through subtle inflections (gangsta->playa->thug->baller)buttheunderlyingarchetypeabides: Stagger Lee, the sexy sociopath who recognizes no limits to desire. Cash Money have popularized their own term, or at least one filched from a group of "gangsta-ass, killin'-ass niggaz" attending their shows: the "hot boy." Gold-mouthed, FUBU-clad, ice-wristed, camouflage bandanna-sporting, untamed. One measure of the term's currency is Missy Elliott's lust-stricken thug paean "Hot Boys," Da Real World'sbest track and effectively a free radio advert for the Cash Money supergroup Hot Boys (Juvenile, B.G., Lil Wayne, and Young Turk).
Since the label's rappers appear on each other's records in all manner of multiple cameo pile-ups (no guests from other labels, thoughwhy bother boosting non-clan members?), every new Cash Money release is essentially another Hot Boys album. Antipop fogey Theodor Adorno would have called this "pseudo-individuation" and "part-interchangeability." And Mannie's inexhaustible Fresh-ness aside, you are basically buying the same record each time; the lyrics reshuffle a lexical deckriding Hummers, chasing paper, spilling brains, sipping Henny, bashing heads (a/k/a splitting wigs!), wifey-stealing, flossing, 20-inch chrome rims, choppers (AK-47's), blow jobs from avid 'hosinto slightly different patterns. The effect, and possibly the subconscious intent, is numbing: murda-Muzak, an ambient moodscape that doesn't melt your defenses, but hardens the character armor.