Posted on 10/07/2008
The balance between mainstream and underground Hip-Hop prevalent in the '80s to mid-'90s has all but lost its indelibility in the first decade of the new millennium. Mainstream attention has become celestial in nature and the underground scene is virtually subterranean. Seattle producer Jake One, who has straddled the proverbial fence between the known and unknown entities of the rap game for the majority of his career, makes a valiant effort to bring these two worlds at least one step closer to one another. White Van Music is Jake's "favor call-in," as he taps the services of many of the artists from his days as an underground beat freelancer to his recent post at the G-Unit/Aftermath offices.

Jake's creative ear produces some exceptionally refreshing tunes from the most unlikely of sources, none more so than the lead single, "The Truth," pairing Roc-A-Fella mainstay Freeway with the socially conscious Brother Ali. The combination may sound disastrous in theory but the first 15 seconds of the back and forth chorus between the two is enough to notice that for the most part, Jake knows what he's doing. M.O.P.'s presence is definitely felt on the infectiously bouncy "Gangsta Boy" and Busta Rhymes lends his star status to the Bishop Lamont outing, "Kissin' the Curb." Little Brother wax poetic as metaphorical parishioners on the keyboard heavy "Bless the Child," followed by another surprising pair-up with De La Soul's Posdnuos and Atmosphere frontman Slug materializing the backpacker wet dream on "Oh Really." The most comfortable by far over Jake's critically acclaimed production is MF DOOM which may explain why he pulls double duty dropping his trademark nonsensicals on both "Trap Door" and "Get 'Er Done." However, the award for best song can arguably go to Blueprint, who takes Jake's sparse drum/piano delight and creates "Scared," a hilarious tale of a hard-to-get femme fatale whose lack of romance is replaced with an ardent spirit for murder.

While Jake's attempt to bridge the gap between rap's vast subgenres is applaudable, the balance within White Van Music is slightly askew and sometimes the contrast of styles is too jarring to enjoy. Going from an MF DOOM track immediately into a Young Buck song or being rewarded with a gem from the "Motown 25" duo of Elzhi & Royce Da 5'9" only after having to suffer through Keak Da Sneak's painful "Soil Raps" is a perfect recipe for sensory overload. Also, Jake's best beats on the disc seem to go to the much lesser known acts, mainly those from his hometown of Seattle, which in one instance is admirable yet still damaging when matching skill level. The healthy 66 minutes of White Van Music play out as an ironic template of nostalgic rediscovery and progressive appreciation, a razor-thin line to be treaded delicately. Since there's not a bad beat anywhere in the bunch, something tells me the instrumental version of this project was destined and/or doomed to be received at a greater degree from the start.

- Kendred Spirit