The Flowtation Device Prezentz: "Usual Suspects" by Rick Ro$$ ft. Nas (CUSSING, BIG SURPRISE)

In which the Flowtation Device comes to the controversial conclusion that NAS IS A BETTER RAPPER THAN RICK ROSS. OR maybe you already knew that without the FD's help. Indeed, any four-year-old could probably deliver the same verdict, provided we let them listen to Rick Ross CDs in the car, which we certainly DO NOT. So this particular aesthetic judgment is not particularly earth shattering, nor was the FD necessary to its derivation. BUT! Maybe the Flowtation Device can help to clarify WHY Nas is superior. Listen and we'll chat:



Truth is, Rick Ross is pretty good. And his CD! Deeper Than Rap should TOTALLY have made my '09 list, probably #3 or #4. (Adios, U2!) The first several songs hone to perfection a smooth variety of "yacht rap," based on conspicuous-consumption lyrics and perfectly placed sonic elements, that's as reassuring as reading the Zingerman's catalog. (Or another expensive catalog from which you dream of someday placing an order.)

But back to Mr. Ross. He's maybe a little stiff and doesn't attempt anything too outrageous, but he's certainly more authoritative than Soulja Boy, let alone the guys in Lonely Island, whose "I'm On a Boat" sprays Rick's whole block with a glock. His two verses here set up such regular rhyme patterns that you barely need the Flowtation Device to make them scan:

If you balling physics, nigga money never flow
Meaning every day I'm living tryna stay afloat
Coming from a BOSS, I can predict a double cross
Handlers managing money, they never come across

Of course I have to point out that he rhymes "cross" with "cross." There are worse crimes. For instance, there's fact that a bunch of his rhymes fall square on beat 4, which makes him sound like he's trying to run in lead shoes. But he's capable of changing things up on occasion, like with this swingin' syncopation from Verse 1:

*i'mTOO_COOL_FORlame / =dudes=thatRIDiCULE_ /

So, yeah, faint praise, but it's not like he's got no business doing what he's doing. As I said before, he knows how to make a great album and he's a talent magnet--as evidenced by the Nastradamic greatness of the middle verse, at 1:59.

If Ross sounds leaden, Nas's verse has more twists and swoops than Muhummad Ali flying around the ring. Here's the blow by blow:

*andSTILL_MYtalENTis / YETtoBEchalLENGED.HADno /
JET.WITHmyOWN_PIlot / *noBLASTingOFFbutFLEXing /
DjKHAled*myMOM_ / STRESSingCOLLege*.BUTmy /
CRUDE_SENSEofLOGicDIDal / LUDE_TOmyEMPtyWALlet /

Rhymes are EVERYwhere. Notice that "talent" and "challenged" start on offbeats, while all the others--"pilot," "Khaled," "college," "logic," "wallet"--start on the beat, but on DIFFERENT beats--4, 2, 2, 3, and 4, respectively. You can tell immediately that Nas commands his words enough to rhyme wherever he wants. Ross's regular rhyme patterns, on the other hand, make it seem like he HAD to put those rhymes on the final beats or else he'd get lost. His attitude is big enough that it doesn't undermine his authority too much (he's THE BOSS, after all), but next to him, Nas sounds like he's spiraling into the stratosphere. And it gets better:

*trySPITtingONaGREEN_ / TINTedACcord=.WHICHcould /
MEANaSENTenceUPnorth=. / WHEREtheHOMieWASbutBACKthen /
DOUGHwasLIKEaWHOREthatGOLDie / LOVEitDIDn'tEXistANDof /
FICerFOLeyCUFFS.WASaf / TERmyWRISTS_

!!!!!! In case you missed it:

WHEREtheHOMieWASbutBACKthen /
DOUGHwasLIKEaWHOREthatGOLDie / LOVEitDIDn'tEXistANDof /
FICerFOLeyCUFFS

That virtuosic run of 29 syllables without a rest is a thrilling contrast to the shorter phrases that precede it. Listening to this verse is like listening to a Sonny Rollins solo heat up. When it starts out I'm thinking, "OK, I think I know what's going on here," I can follow the notes and the tune and everything, and then all of a sudden he's gone, and I have NO IDEA what's going on, and I love him even more. Not done yet; I believe Nas was talking about his wrists...

*wasNOTbev /
ERlyHILLS_WHEREweCHILLED_ / *imAgineTHIStheNAZa /
RETH.HADtoGETfromRAGSto / RICH.*.*iUSEDto /
STANDonROOFtops=withTWO_ / GLOCKS_*.FIGurIN'how /
DOiTURNmyTIMberLANDSto / CROCS_*nowREPtiles=

I sheepishly admit that I don't understand why the Nazareth wants to turn his Timberlands to Crocs. Please explain this mystery to me, and then allow him to flabbergast you again:

was /
LEFT_OUTaBOUTtoWATCH_ / *whatISyouTHINKin'MURKyou /
PLUStheMUScleTHATyouBRINGin' / ISnothINGtoMEifYOUthug /
GIN'andFAKEorSHAKEDon=cub / ANshoutOUTmyRICans*dealt /
WITHallOFyouGANGstasTOthe / ROUGHestJAMaiCANSandHAItians /

ANOTHER 29 syllables without a break, the strong ones on offbeats and the weak ones on strong beats, except in those cases that they're not. In this verse, Nas demonstrates his unique gift for creating an rhyme logic that doesn't fall into those cookie-cutter "sung-style" (Adam Krims holla!) patterns, patterns that are weaker MCs' bread and butter. This verse would be amazing in any context, but it leaves Rick Ross in the dust. One Youtube commenter wonders, "Why would Nas go on a song with this guy?" That's like asking, "Why would he want his dick to look huge?"

The Flowtation Device Presentz: "House of Flying Daggers" by Raekwon feat. GZA, Deck, Ghost, Meth, and LOTS OF CUSSING BEWARE

After days of soul searching, struggle, wrestling with angels and the absent U-God Himself (QUOTH THE U-GOD FROM VOLUME I: "Before we got Germanic and thoughts got sporadic..." POINT TAKEN U), I've finally come to the determination that I don't love Only Built 4 Cuban Linx II as much as I should. Like Job when he came face to face with the Almighty and lost, I'm bewildered and don't pretend to understand, but I take solace in the fact that the whole thing is made with untold skill, not unlike Leviathan (NOT the Mastodon album, though my feelings toward it are similar). Indeed! Canst thou draw out Leviathan with a hook? Bitch? I don't think so! Nor shouldst you expect to draw out Cuban Linx II with hooks, cuz they're not there. There's nothing to hang onto, nothing to grab. You want grabby, go listen to K'Naan.

But forget what I just said! Because every time I listen there's more and more--like you're, what, surveying the surface of Leviathan and seeing all the little details, all the scars of, um, harpoons past? With that, we retire the metaphor and instead listen to one of these songs I DO love, a battle-hardened harpoon scar incarcerated on larceny and arson, see--you Johnny Carson, son, a farce to me:



Anyway, this tune's handy for comparing different flow styles. Inspectah Deck (verse 1) and Method Man (verse 4, 3:32) offer what I'll call "complex sung" verses until world-historical hip-hop scholar Adam Krims deigns to advise me otherwise. Meth bases his rhyme schemes around a four-bar, three-rhyme pattern:

MANya'll /
NIGgasAIN'T.SHIT.TOus / =.STILLaPIS_TOLbust /
*split*yourMELonLIKEi / SPLIT.THEdutch

He messes around with that pattern throughout the verse. My favorite variation comes later in the verse where he pushes the second rhyme to beat 1 of bar three:

GOTa /
WHOLE_LINEofCLAS_SICjoints / =andWHILEyouATitPASS_ /
THEjoint*let'sPUSHthisMUSic / PAST_THEpoint*

And Meth LOVES his syncopated syllables here. Listen to the end of his verse, where he's practically chewing his off-beat "ch" sounds:

MY_TIMEtoGO.FORsure / *yaNIGgaGOES_TOwar /
=whatch=yaTHINKiBROUGHTthese / SOL_DIERSfor*toSEND. /
SHOT.LIKEforGET.MEnots / *atANyNIGgaRESpect /
*bitch*thatFIGureTHEYgon' / GET.MEgot*

Deck is a little more varied, but is basically playing around with a similar four-bar pattern of three rhymes:

iPOP_ /
OFF_LIKEaMOB_STERboss / =.ANgelHAIR_WIT'the /
LOB_STERsauce=.SUMmer / TIME.CAN'T_TOP_THEscorch

He nearly always pauses for an empty beat between phrases. (Meth would, too, except he fills his empty beats with those chewy syncopated "bitch"es and whatnot, that anticipate the next phrase.) While Deck changes his phrase lengths, he ends every rhyme on beat 2 or 4--an opening verse that's good and solid, but not too off-kilter.

Both of those guys offer up lots of stuff to hang onto--regular patterns of rhythm and rhyme, beat-long rests separating phrases--that makes it easier to grasp their words and rhythmic variations. Between those "complex sung" verses, we've got the "definitely speech effusive" Raekwon (verse 2, 1:53) and Ghostface Killah (verse 3, 2:53), who occasionally nod to regular rhyme patterns, but mostly do away with them altogether. They also rarely place more than an empty half-beat between phrases, because they've got too much language and murder to cram in. BUT they throw us some crumbs: in the middle of their verses they break up the chaos of their attacks with strong on-beat lines. Rae's got:

FLY_CRI_TERiA_ / BURyMEinAFriCAwith /
WHIPS_ANDspears=andROUGH_ / DIAmondsOUTofSYriA= /

--while Ghost gives us:

hu /
MILiATE.BRUtalIZE. / RUgerPOP.PULverIZE. /
STILL_GOT_GEARinTHEclo / SET.THAT'S_STUpidLIVEfrom

These are like little islands we, their humble listeners, can process before they flip into insane shit like Ghost's:

BENetTON_RUGbySKUL / LIES.OSH_KOSHconDUCTor /
JUMpers*theTRAIN_HATS_ / FIT*MEloveLY.


Young Zeegy models the Osh Kosh conductor jumper, minus train hat. OG since '05!

Given all these similarities, it's nice of Rae and Ghost to sound so dissimilar. Rae's all quiet burn, while Ghost always reminds me of some unhinged free jazz trombone solo. He's one of the most musical rappers I can think of, even though he's nearly always speech effusive and rarely "sung" (though I haven't heard his new smooth R&B CD--further research).

As I look over Rae's verse, I'm seeing that he breaks up his phrases with empty beats a little more than Ghost does, giving us bewildered listeners a chance to appreciate lines like these on first hearing:

and /
SPEAK.WIT'theYOUTHinTHEspot / *.EATtheFRESH_FRUITin /
THEcrop=.ALLtheseHIP. / HOPpersEATcock*.YOUcan
SEEmeINtheSTREETorTHEyacht / =i'dRAtherBEproMOTin' /
YOURblock*orBUYin'FRESH= / SNEAKersWITHgwops

Let me just reiterate how, as in Meth's verse, I LOVE the rhymes landing on beat 1. And part of that LOVE comes from the fact that it frustrates my expectation of where they SHOULD land (on beat 2 or 4), an expectation that exists partly from Deck's Verse One patterns, but more from Rae's ability to SEEM like he's slipping into a typical "sung" pattern that we've heard somewhere before, where the rhymes end on 2 or 4. This ability is no doubt intuitive for Rae, as it is for all these guys. It's sort of like how a jazz soloist will have all kinds of licks and melody fragments at her disposal, deploy them selectively, and wickedly exploit listeners' memories of those fragments by altering them at choice moments.

Ghost makes the fewest nods to typical "sung" patterns, and is consequently the most exhausting of the four to listen to. Maybe this is a key to why this whole album hasn't reached out and grabbed me yet--because it's got a lot of Rae (obv) and Ghost, and they're exhausting. If it was all Meth's delicious syncopated stuff in fairly regular patterns, I'd have a better idea of what's going on and would be annoying my family with more recitations by now. As it is, I'd've never heard Ghost's Osh Kosh reference without looking at the words written out. So while I love listening to these speech effusive guys in small doses, because what they're able to do is incredible, they're a lot to take in. I appreciate Rae's efforts, however meager, to give me something to hang onto.

And "New Wu"--you've GOT to hear Meth on this one (3:28)...

The Flowtation Device Presentz: RZA's verse from "Wu-Gambinos" vs. Outkast's "Babylon" (CUSSING AND WHATNOT)

In honor of RZA's recent media tour to support his new tome The Tao of Wu, and in honor of Raekwon's new sequel to Only Built 4 Cuban Linx, which I was somehow unable to find at either Borders or Best Buy, a shameful disgrace for brick/mortar retailers everywhere, The Flowtation Device would like to present a celebration of RZA's verse from "Wu-Gambinos" off the FIRST Cuban Linx, contrasted with an exploration of Outkast's "Babylon," which is right at home on this blog and will probably be thematically explored here sometime soon.

In other words--Welcome back to some esoteric horseshit! Exhibit "A" will be Andre's second verse in the Outkast song "Babylon," from ATliens '96. Exhibit "B" is Big Boi's verse from the same song. Both exemplify what world-historic hip-hop scholar Adam Krims calls "percussion-effusive" flow (Major Tom, iz you IN DA HOUSE????) [caution: I no longer get that joke], which basically means the rhymes don't occur at regular intervals and the words conform to the rhythms, not vice-versa. Both also employ triplets and 16th notes, indicated here with italicized words. (If you see two syllables joined by italics, they're 16th notes; if you see three syllables joined by italics, they're a triplet.)

The best example of words-conforming-to-rhythms is in Big Boi's verse. Big Boi uses fairly regular triplet rhythms alternating with straight 8th beats:
"AUNTiewasTIGHTlikeSOUTHwesssst-be / FOREthePINKSmovedIN.LIKEthe /
NIGgaswhoOWNEDtheLIQUourSTORES. / CRACKcoCAINE.PIMPSandWHORES. /
LIVin'upONthisEARTHbeFOREa / NIGgaLIKEdadDYwasBORNbut /"

Andre's verse is less regular, but still sounds like curlicued and filigreed antique furniture.

RZA's verse on Raekwon's "Wu-Gambinos" (Only Built 4 Cuban Linx, '95) is the klassic Krims example of "speech-effusive," which basically means the rhymes don't occur at regular intervals and the rhythms conform to the words, not vice-versa. RZA's verse was much harder to analyze rhythmically. All these guys have some ambiguity in their rhythms--they'll attack words ahead of or behind the beat or whatever--it's like comparing a transcribed Wynton Kelly solo to what Wynton's actually playing--but RZA was totally rushing words and employing septuplets or some shit. (As payback, I totally gave up trying to figure out the penultimate line. My payback's a mutha.)

Perhaps paradoxically, the Outkast verses that focused on rhythms-over-words were much easier to comprehend than the RZA verse that focused on words-over-rhythms. I'll get down to brass tacks on the Outkast verse in a blog or two, but just reading it you can understand what they're talking about. But I have no idea what the shit RZA is talking about, except that he's awesome and he will harm me. Perhaps also paradoxically, I like his verse better than the Outkast verses, and I'm not just saying that because he'll break 206 of my bones and watch my ass get blown into a sea of fire and brimstone. His flow's livelier and looser and he covers a lot of lyrical ground. During the span of his verse he is a dapper diamond thief, a cop, a thug, Noah Bean (the actor from Damages? not in '95...), a Klan Wizard, a Revolutionary War soldier, a doctor, and a Genie inside the Bottle that is the Projects. Where Outkast sound kind of bottled by their rhythms, RZA's a total genie on the rampage.

(Not to dis Adam Krims, who seems like the kind of nutty academic I can get behind--and he's certainly researched this stuff more than I have--but take his nomenclatures with a grain of salt. After all, it's not like anyone's done any subsequent research on the subject of flow, or indeed corroborated or refuted his three-fold classification system. At least, not anyone I can find. I plan to contact him once I have something intelligent to say.)



Andre 3000 (percussion-effusive) starts at 1:04:

*i'mFASciNAtedBYthe /
WAYyo'NIPplesPEAKatMEthrough / YO'blouse*.*.*. /
FREAkyMEfreaKYyou-can't / HELPbutBEaROUSED.'SCUSEme /
LORD_LESSforTHINkin'but THATwasthe / WAYweWASbroughtUP.*. /
SNEAKin'toWATCHplayBOYatNIGHTwe / ALLmustBEcaughtUPinWORLDly /
WAYS_*.CHEMisTRYbet / WEEN.BOYSandGIRLS_ *isa /
LOT_like -whenweWENT totheWOODSand / LAID_WITHtheSQUIRrelsDURin' /
Pe*.WEbe*ex / PLORin'eachOTHers'PRIvates*. /
HUNCHin'withALLourCLOTHESon*un / TILweFELTexCITedTHEN_ /
AHHH_*.*.*oh / NOWit'sONfromHEREonOUT. /
PUTyo'HANDS intheATmosPHERE. / IFyouKNOWwhati'm TALKin'aBOUTnow /
IFtwoHEARTSdoneWALKonOUT andi / SEEyouONtheNEXTsong*they /
CALLitHORNybeCAUSEit'sDEVil / ISHnowSEEweDEAD.WRONG.


Big Boi (percussion-effusive) starts at 2:03:

*.*.*.PEOpledon't /
KNOWtheSTRESSi'mDEALin'withDAYto / DAY.*.SPEAKin'aBOUTthe /
FEELingsI'MposSESSingFORre / NEE.*.MOPin'aROUNDand /
WONDeringWHEREsheSTAY.SAWher / LAST.THATsheLAY. *GIVE itan /
OTHerDAYiSAY.* butthe / LORDheTAKethaWAYnowGIVEit /
BACKlawd*causeTHAT'SlikeBACKboards / -withOUTtheRIMS_ MEandmy /
AUNTiewasTIGHTlikeSOUTHwesssst-be / FOREthePINKSmovedIN.LIKEthe /
NIGgaswhoOWNEDtheLIQUourSTORES. / CRACKcoCAINE.PIMPSandWHORES. /
LIVin'upONthisEARTHbeFOREa / NIGgaLIKEdadDYwasBORNbut /
THEYbeMAKin'aSCENE.THATmy / MUSicand CRIMEareaTEAM. *buti'm /
SPEAKin'theTRUTHnotDREAMS. *.so / WHATintheFUCKtheyMEANmyLYRics /
AIN'Tclean

And then, by way of contrast:



Verse Three: RZA, a.k.a. Bobby Steels (speech-effusive) starts at 5:40:

*.*.SOlidGOLD_ /
CROWN_BEshin-in'ANDblind / -in'LIKEsomeDIAmondsIbe /
PINin'THEstyle-inTHEcloud / *withSILverLINingsDOUble /
BREASTed*.BULLET proof--vest / ED.WELLproTECTed*the /
HEARTtheRIB.CAGE.THEchest / -andSOLarPLEXusCASTin' /
STONES.*.CRACKin'TWOhun / DREDandSIXbones-andWATCHyo' /
ASS_GETblownINtoAsea / OFfire-andBRIMstone*. /
*howDARE youapPROACHitWITHdim / -pones-theOVerFIEND_ /
LIKE.NOahBEAN_GREEN / SOULS_WIT'aSOLDierMEAN. /
*theGRANDexQUISiteIMper / IAL wiz ARDOH isITtheRYza /
RECtorCOMEtoPAYyourASSa / VISit*.LOCalBIo /
CHEMical*.UNiVERSal / GIANT theBLACK_GENeralLICKin' /
SHOTSatDAvyCROCKett*. / ONtheBIcenTENniALhap /
PYmilLENniumTWOthou-sand / MICroCHIPS_TWO shotsofPENi /
CILlingoesUPyouraDRENalin*. / SONit'sTIMEforBOUTin'
It's a mileage resemblin niggaz who like followin
TRAPPEDinSIDEyourPROjectsLIKEa / GENieinSIDEtheBOTtleN'.

As I said, that RZA verse was way more difficult, and thus it's fairly impossible to read. My HOPE is that we'll somehow be able to detect the difference between "percussion-effusive" and "speech-effusive" just by looking at the flowtated lyrics--or at least that the flowtation will help differentiate in some way. Before we get to that, though, here's the reasons Krims gives for calling Outkast percussion-effusive and RZA speech-effusive (this is all from his invaluable book Rap Music and the Poetics of Identity):

1. Outkast are percussion-effusive because "the MC(s) rap rhythmic patterns that, if spoken American (including Ebonic) English is taken as 'natural,' could only be called, by contrast, 'stylized' or 'musical.'" (p.77)

2. Also true of Outkast: "The rhythms are rapid, often producing constant alterations between, on the one hand, groups of quick and even attacks, and on the other hand, slower and more differentiated rhythmic values..."
FOR EXAMPLE: "LAID_WITHtheSQUIRrelsDURin' /
Pe*.WEbe*ex / PLORin'eachOTHers'PRIvates*. /"

3. Outkast are from Atlanta, and, according to Krims, "certain over-the-top percussion-effusive styles could... be said to mark out an MC geographically, albeit negatively as "not-New York." (Not sure where he stands on Busta Rhymes, who's from NYC but to my ears is WAY percussion-effusive.) (Dude, I should TOTALLY do his verse from "Scenario" next!)

4. In re RZA's verse on "Wu-Gambinos": RZA "is capable of engaging in extreme speech-effusiveness with very little percussiveness... his delivery veritably overflows with complex polyrhythms, but in something approaching a monotone." (p.52)

5. On the difference between the two "effusive" styles, compared with the more old-school "sung" style (think Sugarhill, Beasties...): "there is... reason to associate the percussion-effusive with the sung style. The association would then pair off the more 'musical' (for current lack of a better term) manners of MCing against those closer to 'natural' speech." That is, RZA is closer to "natural" speech--his rhythms conform to his words.

Here are my preliminary insufficient findings, on how to distinguish styles of effusiveness by looking at the flowtated lyrics:

1. As Krims says, percussion-effusive lyrics will display more regular rhyme patterns, with fewer internal rhymes, than speech-effusive lyrics. Percussion-effusive lyrics are still more variable in their rhyme schemes than "sung" lyrics, but you can discern some regularity. See, for instance, Andre's "yo' blouse," "aroused," "brought up," "caught up," "girls," "squirrels." All those rhymes fall at roughly the same place in second bars, with almost no competing internal rhymes in the first bars. In contrast, RZA's verse starts off with some fairly regular second-bar rhymes, but in context they're barely distinguishable from all the surrounding internal rhymes and assonances. In the first two bars alone we have "shinin'," "blindin'," "like some," "diamonds," and "I be."

2. This is a little subjective, but it's much easier for me to recite the Outkast verses--in rhythm--from reading their flowtations, than it is to recite the RZA verse. At this point, I can't say if that's true of all speech-effusive lyrics or just this particular (insane) RZA lyric. But the percussion-effusive Outkast lyrics seem to settle in to easily-translatable musical patterns, whereas the RZA lines do NOT. Both verses feature sixteenth-beats and triplets, but maybe it's that RZA tends to have little regard for placing strong syllables on strong beats and weak syllables on weak beats. Other rappers play with syllabic placement, but they often do so for deliberate rhythmic effects that make sense MUSICALLY. RZA's verse, while awesome, makes less sense in conventional musical/rhythmic terms.

More to come, I'm sure--any input is welcome, as this is a work in progress.

The Flowtation Device Presentz: Jay-Z's "99 Problems" (also Best Thing I Heard THIS DECADE) (Watch out for cussing and other offensives!)

Song of the decade? Ahhh, if we must. Somewhat surprising, then, that it wasn't a bigger hit: #30 on the Billboard Hot 100, #10 on Hot Rap Tracks, and only the third-biggest hit off The Black Album, behind "Dirt off Your Shoulder" (maybe understandable) and "Change Clothes" (really?). Indeed, I remember opening my ears wide whenever I listened to '04 radio, trying to catch a glimpse of Rick Rubin's massive beats or power chords. It was like seeking the attributes of some rare bird--a giant redheaded woodpecker, maybe, or a bluebird, amid countless robins and wrens. Amid the Hoobastank. (I remember Scott Seward complaining on ILX, in a now-unsearchable post, memorable for its pathos, that he kept hearing "The Reason" when all he wanted to hear was "99 Problems.") But whether because of its language or because the world wasn't ready, we didn't hear it nearly enough.

Jay-Z himself goes back and forth on the issue: "Got beef with radio; if I don't play they show, they don't play my hits--well I don't give a shit, so..." Which is it, Jay? Beef or not giving a shit? Can we safely say that this is the dialectic that defines the song? Do I even know what a dialectic is? Does that matter? (If a dialectic falls on ignorant ears, does it still exist?) "99 Problems" raises many questions, not least of which is: Is there really a Wilson Pickett sample in this song?



The songs credited for samples, presumably for the drum sounds, are Billy Squier's "The Big Beat" and Mountain's "Long Red," which have been used on 99% of rap songs in the world. (Not sure about the cowbell.) The title and lead couplet come from Ice T's slightly more--shall we say?--pedantic '93 non-hit "99 Problems":

*.*.*.IFyou / HAVin'GIRL_PROBlemsIfeel / BADforYOUson*iGOT_ /
NINEtyNINE_PROBlemsBUTa / BITCHain't-one*

At the beginning of Verse 3, Jay also quotes a Bun B verse:

*.*.*.*once / UPon-aTIME_NOTtoo / LONG_Ago*aNIGga /
LIKEmySELF.HADtoSTRONG_ / ARM_Ahoe*.THISis /
NOTaHOE_INtheSENSEof / HAVin'ApusSY.*but(a) /
PUSsyHAVin'noGODdam-sense / -.TRYan'PUSHme*. /

(FORMATTING NOTE: Since underlining appears to be impossible, I'm using unorthodox italics to indicate triplets, as above.)

You can read the title couplet a couple ways: Jay's got lots of problems, but his woman's not one of them (this was during the winky-winky period of his relationship with Beyonce); or, he can easily overcome those "bitches"--foes, critics, radio, magazines, cops, Bun B's "pussies havin' no goddam sense"--who are the cause of his problems. Hence the dialectic: Jay spends the entire song in an extended reverie of beef, but his swagger and humor are such that you never doubt he'll overcome. He ends Verse 2, for instance, in a state of uncertainty--he's got drugs in his trunk and the cop says, "We'll see how smart you are when the canines come." Eek! But we know he'll make it out of the situation, because it took place back in '94, and 10 years later he's a business, man. He's SuperJay! He doesn't have to give a shit, so...

Here's one of two great scenes in Jay's concert movie documentary Fade to Black (the other is when an prancing Timbaland plays beats for Jay, finally arriving at the one for "Dirt Off Your Shoulder"): Jay wants to reconnect with the Old School, so he goes to Rick Rubin's house, raps some Chuck D, says hi to a tickled Mike D (strange to think Jay looking up to the Beastie Boys, but there you go), and lays down "99 Problems." Check out the part 3 minutes in, where Jay imitates the cop's voice, working to perfect his comic pronunciation of "lawyer":



Jay's working method is reputedly this: he listens to the beat, goes off in a corner somewhere, and emerges with a fully-formed lyric that exists only inside his head. (And I'm happy when I can do the Jumble without a pencil!) I can't make too many claims, in part because this is the only Jay song I've looked at so far, in part because artistic intent is a mysterious nebulous cloud of pixie dust, but it seems like such a technique might make him more sensitive to how his lyrics interact with the beat. For instance?

For instance: if you go back to the song itself, at around 2:20 you'll hear just Rick Rubin's basic beat pattern, sans lyrics, guitar, or cowbell. Here's the flowtated beat pattern, without differentiation between the drum sounds (lines equal hits, dots and asterisks equal rests):

-.-_-.*. / *_-_-_-.

Notice that the second bar of the pattern has no downbeat. This drum pattern occurs throughout most of the song, with only a few bars of exception. Now, take a look at Jay's first four lines, flowtated:

*rap*paTROL_ONthe / GAT_PAtrol-.*foes /
-thatWANTtoMAKE.SUREmy / CAS_KET'Sclosed-.*rap /
*criTICSthatSAY_HE'Smon / EYcash-hoes*i'mFROMthe /
HOOD_STUpidWHATtype*of / FACTS_AREthose-.*if /

Notice that, in every second bar, Jay raps a syllable on the downbeat. In lines 1, 2, and 4, he even waits until beat 2 to hit his second syllable, leaving a small (eighth-rest) gap. The effect of this is that, in every second bar, the drum eighth-beats cascade out from Jay's initial syllable. This continues pretty much throughout the song, with only a couple exceptions. Go back and listen, it's beautiful.

Now, remember Rick Rubin's power chords! They hit on the downbeat of every other line (with, of course, some end-of-line pickups and more variation toward the song's end). See above, how Jay avoids rapping on the downbeat of lines 1 and 3? It's almost as though he's getting out of the way of those power chords! In fact, he does the same thing, with only one exception, for every power-chord downbeat in Verse 1. (Verses 2 and 3 are a different story, maybe to increase the excitement, the headlong rush to the end of the song?)

Somebody--Kyle? my wife?--is going to ask me whether I SERIOUSLY BELIEVE that Jay did this stuff intentionally. Well, who cares? I mean, I doubt he anally reasoned out where he was going to place every syllable, and maybe he wasn't aware of the effects he was creating in partnership with the beat. On the other hand, as he has warned me in song, I'd be a fool to underestimate the intelligence that Jay-Z has. He obviously possesses great sensitivity for what he's doing musically, whether intuitively or otherwise. He's a virtuoso.

That virtuosity is further on display in the way he commands some special effects. As I said before, this is the only Jay rap I've looked at closely, so I can't tell you offhand what Krimsian flow he normally uses. (Adam Krims's three flow styles, remember, are sung, speech-effusive, and percussion-effusive.) I suspect he's often speech-effusive because he's from New York and people say he's great, but that's all I got. This song, though, is mostly in the old-school "sung" style. It has regular rhymes on beat 2& or beat 3 of every second bar--same as the title couplet's "son" and "one"--and it doesn't stray too far from that. There aren't even many internal rhymes scattered about. The sung flow sounds--well, like singing, right? It fits a neat beat, it features regular rhymes, and it's not all that much like regular speech. When you appreciate a sung flow--and who hasn't?--I mean, think anyone on Sugarhill Records--you suspend your disbelief. But Jay's virtuosity allows him to break through that suspension in a couple interesting ways.

He uses triplets! The rap is overwhelmingly comprised of eighth-beats, so when Jay whips out the triplet, you know he means it. And basically, he means it to be funny. He's either expressing frustration:

(Verse 1) GOTbeef /
*withRAdiOifIdon't / PLAYthey-show*theyDON'T- /
PLAYmy-hits-.WELLidon't / GIVE(a)shit*so-.*. /

(Verse 3) THISis /
NOTaHOE_INtheSENSEof / HAVin'ApusSY.*but(a) /
PUSsyHAVin'noGODdam-sense / -.TRYan'PUSHme*. /

--or he's imitating spoken dialogue, as in Verse 2, the delicious encounter between him and the Richard Pryor-esque cop:

(Jay:) DOi /
LOOKlikeaMIND_REAderSIR. / Idon't-know*.

(the cop, who gets the best line in the song:) AREyou /
CAR'yin'aWEAponONyouiKNOWa / LOTofYOUare-.

Jay's other tactic to draw our attention from the regular beat is to employ an uninterrupted string of eighth beats. There are only three bars in the song that contain eight uninterrupted syllables. In context, here's Verse 1's, which occurs near the end of the verse, right before the title line (a climax point):

ORun /
DERstandTHEinTELLiGENCEthat / JAY-Zhas

Verse 2's represents some naturalistic dialogue, and also a moment of rhetorical triumph for our narrator:

ANDi /
KNOWmyRIGHTSsoYOUgon'NEEDa / WARrantFORthat*.

Verse 3's occurs right when the beat breaks down and somebody screams "Whooo!" It's exciting:

andONly /
THINGthat'sGONnaHAPpenISi / 'MAget-toCLAPpin'

Finally, that carefully worked-over "lawyer" line. It's the only point in the song where Jay deviates from his regular rhyme scheme, of rhyming on beat 2& or 3 of every second bar. Instead, we get this drawled exemplar of naturalisme:

AREN'T_YOU_SHARPasAtack / *.YOUsomeTYPE_OFlaw /
-y'orSOMEthin'SOMEbodYim / PORtantORsomeTHIN'

That's the line that made Mike D, and me, grin upon first hearing. Jay breaks free of the pattern we've come to expect, and for a moment it seems like there's nothing he can't do with a beat. So we grin at his virtuosity, we grin at his impression of a white cop, and we grin at the dialectic of Jay-Z brazenly asserting his rights to a racial profiler WHILE he's got raw in his trunk. He's got beef but he doesn't give a shit. And his performance on this song is a glimpse at how that kind of forceful insouciance--and his career since '94--might be possible.

The Flowtation Device Presentz: Mos Def's "Quiet Dog (Bite Hard)"

Mr. Def! I hate this game, sir--
This game makes my tongue quite lame, sir!



Mos Def's "Quiet Dog", from his latest LP The Ecstatic, is first and foremost the party-starter of the year--but SECOND and not quite to the fore, it's a total old-skool throwback. I say this not just because Mr. Def quotes two lines from the Sugarhill Gang's "Rapper's Delight," thow that's the obvious giveaway, but also because his entire rap springs from those lines like water from Moses's stones. Like a good old-skoolchild, he doesn't cuss. But the real fingerprints are rhythmic:



Mr. Def opens with a variation on the "up jumps the boogie" chant and closes with an extrapolation of the line "ya don't stop the rock." Their rhythmic characteristics are similar, so we'll focus on the first. (Incidentally, for some family fun, if you rap "Quiet Dog" over the Chic bassline from "Rapper's Delight," it fits.) Here's Sugarhill's "up jumps the boogie" line, flowtated:

BANG.BANG.BOOgieSAIDup / *jump*thaBOOgieTOthe / RHYthmOFtheBOOgieTHEbeat / -

And here's Mr. Def's virtually identical take on same:

BANG_TOtheBOOgieSAYup / *jump*theBOOgieTOthe / RHYthmOFtheBOOgieTObe / -

This line has a couple noteworthy characteristics, which Mr. Def will fully exploit during the course of his "boogie to be."

First! Notice in the first two measures how we contrast strong unsyncopated syllables occurring ON THE BEAT with strong syncopated syllables occurring off the beat. That is, Sugarhill's "BANG.BANG.BOOgie" and Def's "BANG_TOtheBOOgie" contrast with the second bar's "up / *jump*thaBOOgie". This contrast forms the basis of Def's first flow pattern, which he uses for all of verse 1 and for a couple lines near the beginning of verse 2, only transposed to the second halves of the bars:

SIM_PLEthePLAIN_NESS_ / PROmiNENTbas-ic-zu /
-lu-arRANGE_MENT_ / ROCKin'Amaze-ment-fly /

So "PLAIN_NESS_" and "RANGE_MENT_" are on the beat ("BANG.BANG."), while their rhymes "bas-ic-" and "maze-ment-" are off the beat ("up*jump*"). I should note that the horizontal lines (_ and -) in Def's rap simply indicate that he's flowing more legato than the staccato Sugarhills, whose breaks are indicated by dots (. and *). I should also note that, for purposes of comparison, if you offset Mr. Def's barlines half a measure, you'll see that his unsyncopated/syncopated flow pattern corresponds neatly to the germinal "up jump the boogie" line:

PLAIN_NESS_PROmiNENTbas / -ic-zu
RANGE_MENT_ROCKin'Amaze / -ment-fly
corresponds to
BANG_TOtheBOOgieSAYup / *jump*the

Second! The characteristic syncopation of Sugarhill's "tha / BOOgieTOtheRHYthmOFthe / BOOgieTHEbeat-" is caused by a run of syllables ending on an offbeat, which imbues the final offbeat with an unusual implicit stress. See, for example, "Quiet Dog"'s first verse, the first four lines, second half of each line:

PROmiNENTbas-
ROCKin'Amaze-
HEAvenTOpave-
NOthin'TOplay-

As Mr. Def proceeds, we get longer syllabic runs, most of which end on offbeats, culminating at the end of verse 1 with my favorite (I keep reciting it around Zack, he keeps yelling at me):

*laDIESandGENTleMEN_ / MIStasANDmisTRESes-. /
COUSinsOTHerANToANDsyn / Onyms-

This passage combines the two key rhythmic characteristics. "GENTleMEN_ / MIStasANDmisTRESes-" is our "BANG.BANG.BOOgie" line, contrasting rhyming ONBEAT and offbeat syllables. "COUSinsOTHerANToANDsyn / Onyms-" is our "RHYthmOFtheBOOgieTObe" line, ending a run of syllables on an offbeat. Whoa, now! That's just Mos Def testing your equilibrium!

In verse 2, Mr. Def introduces a new four-bar flow pattern with the lines:

DUDES_AIN'T_THROWin'THEYyawn / -in'*theyNEEDtoGEToff
-it-soWACK.RAPis / ALLyouCANcall-it*there /

He rhymes "yawnin'" (end of beat 4 in bar 1) and "off it" (end of beat 4 in bar 2), and then postpones the next rhyme, "call it," by two beats, so it's at the end of beat 2 in the fourth bar. Since all three rhymes occur on offbeats, we're into different flow territory than before, when he was contrasting rhyming ONBEATS and offbeats.

He's still playing with ONBEATS and offbeats, though, just unrhymed ones. Dig the configuration. You could theoretically replace the above two lines ("dudes ain't throwin'" etc...) with this:

BANG_TOtheBOOgieSAYup / *jump*theBOOgieSAYup /
*jump*theBANG_TOthe / BOOgieSAYup*jump*. /

So the rhymes, in the position of "up*jump", fall after four beats, after three beats, and after five beats--and you can feel the extra length in each ultimate rhymed line. This allows Mr. Def to play with longer syllabic runs as he closes out his four-bar patterns (ENgineLIKEi / ROLLoutTHEsta-tion). I don't know my poetics, but there's probably some technical term for this kind of tension-building rhythmic pattern.

I situate this song in the old-skool because of Def's "sung" flow. Sung style, according to rap theorist Adam Krims, exhibits "rhythmic repetition, on-beat accents, regular on-beat pauses, and strict couplet groupings." Krims's book, Rap Music and the Poetics of Identity, is likely to be useful to The Flowtation Device at some point. His other flow types are "speech-effusive," typified by Wu-Tang, and "percussion-effusive," typified by Outkast--but all we need to know here is that the "sung" stuff is old-skool. Of course, the fact that Def is quoting and building on Sugarhill rhymes kind of makes that point painfully obvious. It'll be interesting to see what a percussion-effusive (I think) rapper like Busta Rhymes does when HE interpolates a Sugarhill song, as in "Woo-Hah!! Got You All In Check".

Until then, dig this song like there's no tomorrow, because it is beautiful!