Most mainstream rappers seem content peddling lies to the public. But there are artists out there who do keep it real like Detroit’s Guilty Simpson. Guilty was hand-picked by the late James Yancey at an open mic which is quite possibly the illest co-sign a rapper can get. After picking up a significant buzz bullying through Detroit’s packed underground circuit he signed on with the boutique label, Stones Throw. On his debut, Ode to the Ghetto he reports live from the streets of the D giving it to you straight with no chaser with raps that would make his mentor, J-Dilla, proud.
At no point is Guilty doing anything but doing him on Ode to the Ghetto—none of that fake shit going on here. Whereas it’s become commonplace for other artists to rap about nonsensical violence for the sake of violence (and to sell records), Guilt presents the mindset behind the stick-up kid’s acts. On “Robbery,” he rhymes “my loot’s like Dave Chappelle/funny as hell/money is frail/pockets on E/and a broke ass nigga I’m not gon’ be/that’s why I keep the glock on me” showing the poverty that drove him to “strong arm” fools. On the love tip he invites you to help him decide whether to stay or leave his dysfunctional relationship on “I Must Love You.” Over Dilla’s crashing cymbals, Guilt humorously rhymes about candlelight dinners at Red Lobster that go well until his chick flips on him for supposedly flirting with the waitress.
Guilty shows throughout the LP that he has a knack for drawing you into his experiences. On the album’s title track he portrays the grime of the D with the tale of a slimy neighbor who slings weight but ends up getting jammed up by corrupt cops. Speaking of cops, “Pigs” explores Guilty’s feelings for the boys in blue. He affectionately rhymes “when I see the boys in blue, I feel like a blood.” He also talks about the prejudice officers have for black folks in the hood adding some social commentary to the typical “fuck the police” stance. Ode gives you all sides of Guilty; even the romantic side. “Kinda Live” has Guilt serenading a female he’s formed a bond with. Then there’s the anarchy that takes place on “Kill Em.” DJ Babu helms the organ while Guilt channels his aggression into a cryptic track that could easily be a theme for Jason Voorhees-like action. From lyrical onslaughts to funny tracks about a female Stan, Ode gives you a substantial helping of good Hip Hop music.
Point blank, Ode to the Ghetto is a dope LP. What Guilty Simpson understands better than most underground acts is that the fans don’t need another album chalk full of crazy wordplay. The fans need an album they can live to and Guilty provides that with Ode. He puts his experiences on wax in a way where you either feel like you’re present or it makes you recall a time when something similar happened to you. And lyrically, he’s dumb nice but he’s able to balance being nice with making good songs with good concepts. And with the production line-up of Mr. Porter, Madlib, Black Milk and Dilla there’s hardly ever a point where the beats are lagging. Ode to the Ghetto succeeds in not trying to rehash the Golden Era but pushing the sound of Hip Hop forward. If Guilty can continue to make music at this level of quality then he’s destined to be one of the greats.
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