Fade
The Beat Strangler
Administrator
illest o.g.
SOUTHERN RAP HAS CHANGED a lot since Luke and the 2Live Crew had the strip clubs jumping with that Miami bass sound in the early 90's and successfully challenged the American judicial system on the first amendments guarantee to freedom of speech. In 2005 Lil Jon has replaced Uncle Luke, and crunk is the new sound of the south, but it isn't the only sound of the south. It isn't as easy as it once was to classify the southern sound with so many new ideas bursting from just below the mason Dixon line. The city of Atlanta seems to be leading the new southern revolution and may be the most diversified state regarding Hip-Hop music in the south. Home to the 'King of Crunk' himself Lil Jon, Def Jam's most recent pride and joy Ludacris and self proclaimed 'King of the South' T.I.; the Peach State exemplifies the ever changing southern Hip-Hop scene.
A little further west of Georgia however, is the state of Texas, where in 2002, Brandon "Rahlo" Townsend met producer JClay at a part-time job where they created the company Pink Slip Records, while on company time; hence the name "Pink Slip". After a string of successful shows and performances Pink Slip Records released Rahlo's debut album The Sources. Based on the different sources people use to get music.
Rahlo's strengths lie in his ability to cover all bases while maintaining an overall consistency. Rahlo cleverly flips the script at times. He ranges from tales of life as the neighborhood bootlegger to exposing crooked preachers. Still providing the street shit and satisfying the party crowds at the same time, his song content isn't limited to any single aspect of life.
Up tempo joints like the first single "My Side" showcases three different flows over the slick production of JClay. Up first, Chicago native JClay shows what he can do lyrically and does his thing in the booth, at one point declaring "I'm so rich I donate to the lotto". Next, from Fort Worth his name is Rahlo, he knows a white girl who drives a Volvo, likes to smoke 'dro, and occasionally doesn't mind swallowing. Lastly, "Supreme" who calls Funky town his home (and obviously "Funky Town" is somewhere between Chicago and Fort Worth) goes through multiple flow changes and speeds, ending the song with a hot 16 and on a high note. The hook (boastful and almost intimidating) gets a little redundant but its simplicity and straight-to-the-point manner could make it popular with the slam dancers.
Deeper into the track list "Price Is Right" (which would have been perfect if it had a bass line) sneaks up on you with a familiar sound, sampling the show of the same name with a rough rearrangement courtesy of JClay. Guest E-Mo is impressing with aggressive lyrics and a laid back flow, southern drawl included which adds to his simplistic and often humorous lines like "We in the street while you beat your meat / The block's hotter than Wheezy wee / Or even some pizza cheese". Rahlo explains how real the game is simply stating, "I don't wanna break even, shit / So I'm sleeping." For hustlers everywhere that mantra fits for any industry.
JClay provides the melodic backdrops for the entire album and rarely falters. Whether through sampling or original compositions, Jclay is a co-conspirator of this theory of musical diversity. His beats set a certain tone throughout the album and the vibe created between artist and producer gives this album more of a collaborative feel reminiscent of the early 90's rap scene. A bagpipe on a rap song doesn't necessarily sound like a good idea, but JClay pulls it off on "Hustling". It isn't the main instrument but it compliments the song and what the artist is trying to get across. Rahlo plays his part, supplying an interesting perspective of making something out of nothing.
Nobody's perfect though, especially through 22 tracks. "I Know You Like Me" is kind of confusing. The concept (a song about a guy who can't be with a girl because he's feeling her friend) sounds good on paper but, it isn't executed well. Rahlo tries to cover too many bases on this one, JClay doesn't necessarily bring it on the beat and the chorus doesn't always agree with what's being said in the song. "A Word From The Author" can only be classified as an interlude because of its brief track length. This song defines Rahlo, (who is at his best lyrically) as a person. However, the beat sounds like a work in progress and without a proper foundation, Rahlo sounds a bit off at times when this may have been some of his best work recorded. A hot joint with a few kinks, if extended it would be a really good song. Every idea isn't a good one but there are no bullshit tracks and the overall product is quality.
The Sources shows great potential, the combination of JClay's beats and Rahlo's flows is a good one. Rahlo isn't a great MC but rather a good artist with creative concepts, authentic descriptions of everyday life and entertaining stories delivered with confidence. Given time and the elements of progression and development, good things should be in store for these two if they can maintain a healthy business relationship and continue to feed off of one another's talents. Hopefully nobody gets the pink slip anytime soon.
Recommended for the open minded and street.
