Posted on 06/12/2009
Before going any further, let me make one thing absolutely clear. Paul Wall’s lyrical content and delivery are about as artful as his moniker. If you’re looking for clever word play that involves rhymes that don’t appear in sequence in your toddler’s favorite story book, Paul’s not your guy. Put it like this, in the pantheon of southern hip-hop, Paul Wall is more Willie D than Scarface. But, ask a Geto Boys fan to spit the lyrics of his favorite song and you just might notice that he takes the most pleasure in reciting those of the ever-excitable Willie D rather than the calculating cool of Scarface. That’s what it comes down to for Paul Wall. He’s not making art. He’s just making the music that he and his fans want to hear.

Approaching Fast Life from that perspective offers listeners a clear insight into what drives Paul Wall. On first impression, Wall appears to flirt with minstrelsy. He’s a white guy with an iced out grill and a garage full of tricked out, candy painted cars who runs the risk of mimicking what some would characterize as intrinsic to urban (read: black) culture. On closer inspection it becomes clear that the guy genuinely loves all of this stuff and that those consumed by concerns of racism truly need to check themselves. Simply put, Paul Wall is a ghetto guy who loves a lot of ghetto shit.

And it shows over the course of the album. “Bizzy Body” and “Lemon Drop” are odes to strip clubs likely providing the backdrop for lap dances nationwide. “I Need Mo,” “I Grind” and “Look At Me Now” are testaments to Wall’s underdog-on-top ethos. And “Pressin’ Them Buttons” and “Sumn’ Like A Pimp” are well, they’re self-explanatory. There’s just not much of a need for interpretation with a rapper like Paul Wall. Bob Dylan he is not. And I don’t think he’d have it any other way.

- Adam Roussell