It's Alive!...Or Is It Really?

Oh boy, one of the greatest rappers of all time and one of the greatest hip-hop producers of all time have teamed up to be hip-hop’s version of the Justice League. And to think that two decades ago, they were embroiled in the most wide-ranging beef in rap history – a heated dispute between the South Bronx (represented by Boogie Down Productions) and Queens (represented by the Juice Crew) over who originated hip-hop.

Thankfully KRS-One and Marley Marl have bigger fish to fry. It’s no secret that hip-hop music today is on an artistic (and for the past two years, commercial) decline. Of course, a greatly concerned Nas (interestingly enough, from Queens) released Hip Hop Is Dead to voice his opinion about it. And KRS-One, with who Nas shares a mutual respect, thought it was fitting to accompany the record with a response. Thus, if Nas’ Hip Hop Is Dead is a hyperbolical report on the culture, Hip Hop Lives is supposed to be its companion piece - the aftermath of Nas’ purge and a ray of hope for hip-hop’s resurgence as a cutting-edge form of art.

Ah, if only these guys had made amends back in the late '80s, when both were at their peak form! Little worries, though, with tracks like "Rising to the Top" and “Kill a Rapper”. The former is a beautifully flute-laced track in which KRS-One ties up strings of the '80s rap battles and his industry struggles to convey how much he cares about the culture. And the latter - by far the best cut in the entire album - is a fiery diatribe over a chilly string-driven background against the lax attitude law enforcement treats the cases of murdered rappers. And it does take a personal turn when, amongst the slew of rappers, he mentions his deceased partner Scott La Rock, whose twenty-year old murder still remains unsolved. “Investigation won’t go further - kill a rapper!” he correctly states in the hook.

For the most part, Marley Marl succeeds in keeping the boardwork in tune with today’s hip-hop’s sound, as evidenced by cuts like the bright organ-driven “This Is What It Is”; and the retro sparseness of “Nothing New”, like as if he was revisiting his mid-'80s roots. Hell, he even allows DJ Premier to show up with the scratching in “Victory” (and the infectious thump that Marl produces is like a tribute of sorts to Premo‘s style). In other places, the beats are merely efficient behind Kris’ words, like the energetic percussion-heavy “All Skool”. Otherwise the listener would have to put up with the staleness and monotony of tracks like “Over 30” and “House of Hits”. And although he resurrects the horn sample he famously used for Lords of the Underground’s “Funky Child” back in '93, he prolongs it here, the result being that the blast is erratic enough with the multiple notes to distract from the lyrics. Lightening surely did not strike twice for the Juice Crew wizard.

And KRS-One will not win any new converts with this album. Hip Hop Lives ends up being less of a showcase for hip-hop than his self-importance in it. Yes, there’s the inspirational “This Is What It Is”; the aforementioned “Rising to the Top” and “Kill a Rapper”; and the breakdown in “Hip Hop Lives”, where he meticulously states: “'Hip' and ‘Hop’ is more than music/’Hip’ is the knowledge, ‘Hop’ is the movement/’Hip’ and ‘Hop’ is intelligent movement or relevant movement/We selling the music.” Moreover, the authoritative voice and sharp flow is still present. But for the most part, Kris spends time either reminiscing about the good ol’ days or asserting repeatedly that “[he is] hip-hop.” Okay, we get it already! “I Was There” is especially excruciating, as KRS-One goes on and on about the events in hip-hop history he has witnessed, finishing each line with the declaration that “[he] was there!” Thanks for rubbing it in the young’uns faces, Kris. Maybe if he had spent more time analyzing the rap industry inside out - like Nas admirably did in Hip Hop Is Dead - to propose solutions to hip-hop‘s current rut, Hip Hop Lives could have been a more worthwhile listen. A song named “Nothing New” in this album couldn’t have been any more ironic.

So ultimately, Hip Hop Lives stands more as an admirable effort by a pair of legends past their prime - or an album terrific by default due to the state of contemporary rap - instead of the exceptional stamp it could have been. “I’m on top of my game like Shaquille O’Neal!” boasts KRS-One in “This Is What It Is”. Double irony there - he compares himself to a guy who is in a similar state in his field. Anticipation was pretty high for this project, particularly among the hip-hop purists, so they would be the people most likely disappointed with this release. Take it as it is, though - at a time when most rappers care more about the cheddar than creativity, Hip Hop Lives dares to go against the grain; and for the most part, it succeeds. Just don’t expect to be blown away.

TRACK LISTING:

1. It’s Alive (Intro)
2. Hip Hop Lives
3. Nothing New
4. I Was There
5. Musika
6. Rising to the Top
7. Over 30
8. M.A.R.L.E.Y. (Skit)
9. Kill a Rapper
10. Teacha’s Back
11 The Victory
12. This Is What It Is
13. All Skool
14. House of Hits