Here's my overview of rap... When it started, it was innovative and new, but the music was largely sampled. Over the years, rap evolved and now, it's a much more serious and vital form of art than it was in the 80's and 90's. That being said, an artist like Hammer is never going to compare with newer more aggressive rappers like 50 Cent or Eminem.
The purpose for picking up this record is pretty simple. I was looking up Prince compositions in the Library of Congress online data base and a song called 'Oaktown' popped up. When I saw the disc in a used CD store, I picked it up. 'Oaktown' isn't actually a song Prince contributed to. It's a song that uses a portion of the music Prince wrote for a tune he wrote for The Time called, 'Get It Up'. It sounds like a musician actually plays the part though. And that's better than sampling it right from the vinyl.
By the time this record came out; most people had already written Hammer off. There were all kinds of public scandals surrounding him. About him being broke, wasting millions of dollars, etc. This disc was released in an effort to rebrand Hammer. He dropped the MC from the front of his stage name and moved away from the heavily recognizable samples from his previous album.
It starts out with 'Intro' and what should be a short segue seems to go on forever. 2:12 minutes of forever. Then, the reason for my purchasing this record pops up. That's right, it's 'Oaktown'. Sadly, this song drags quite a bit. I don't really like it. 'It's All Good' kicks in next and we finally have a tune with a good beat. The song is a bit cliche lyrically and Hammer raps it like he was copying Curtis Blow. Still, the beat is thumping so it's not all bad. 'Somethin' For The O.G.'s' is 4th on the disc and this is the song that's a basic game changer for the disc. Great beat, excellent music and Hammer seems to be free flow rappin' on the track. Best number on the disc so far. 'Don't Stop' moves the record into a totally new realm. The background vocals are straight from a Funkadelic cut and the deep slamming beat is funky! Another proper track.
'Pumps And A Bump' spends most of the time in the head of a teenage boy who objectifies women. He almost loses me here. I don't see the point of this song or why it's here. For an artist who wants to reinvent himself, putting this kind of number on a record practically guarantees it won't change the world or have a great impact. 'One More Time' maintains a hypnotic deep beat that seems to be working its way through the entire record. There's some keyboard added to give the song a stronger R&B feel and the vocal delivery softens dramatically. However, it doesn't really move into new or undiscovered territory. It's a nice enough listen though.
'Clap Yo' Hands' maintains the trance-like beat. It's starting to feel like we're trapped in a beat hole. The sound is nice, but again, it's starting to sound the same. 'Break 'Em Off Somethin' Proper', incorporates a nifty rhythm guitar that gives it a slightly differentiating sound but the beat... No variation there. 'Don't Fight The Feelin'' is the first number with a change in beat tempo. It's a ballad bordering on a reggae/Motown feel. We finally get something changing up and it's a welcome relief. 'Somethin' 'Bout The Goldie In Me' sounds like something you'd hear on the New Power Generation's "Goldnigga" disc. It's got that old swing vibe all the way through and the beat is subdued and jazzy. Imagine Mark Morrisson's 'Return Of The Mack', without the Digital Underground drums. Love this song.
'Sleepin' On A Master Plan' is an interesting tune with experimental sounds and a straight forward rhythm track. Still, it's different enough to make me think he might be on the verge of doing some really interesting music. 'It's All That' returns to using an R&B sound to make a friendly rap. Sadly, the idea is cliche and it undercuts whatever strength the song has. However, the music is highly interesting in places. It's worth checking out.
'The Funky Headhunter' returns to the beat that dominates the first huge block of tracks on the disc. It's OK, but nothing to get excited about. 'Pumps And A Bump Reprise (Bump Teddy Bump)' is basically 6 minutes of a tricked out beat. 'Help Lord (Won't You Come)' is the final cut and it combines Soul II Soul beats with a female vocalist who goes un-credited on the track. It's fine for what it is, but there's no build, no climax and for an album closer, it kinda leaves you blah...
Honestly, I look at this record and do I think it helped Hammer reinvent himself? No. Do I think it achieves its goals? Also, no. But I was surprised at the tracks that did work. The ones I like, I really like. And I hear a lot of potential in the sound on this disc to think with a little more time and effort, this could've been a highly influential record. My final words: ANOTHER SKIP UNLESS YOU CAN FIND IT CHEAP. BUT LOTS OF GREAT TRACKS YOU SHOULD BUY INDIVIDUALLY. YOU DON'T HAVE TO BE A FAN TO GROOVE TO SOME OF THIS MATERIAL.
HAMMER - THE FUNKY HEADHUNTER
01. Intro
02. Oaktown
03. It's All Good
04. Somethin' For The O.G.'s
05. Don't Stop
06. Pumps And A Bump
07. One Mo' Time
08. Clap Yo' Hands
09. Break 'Em Off Somethin' Proper
10. Don't Fight The Feelin'
11. Somethin' 'Bout The Goldie In Me
12. Sleepin' On A Master Plan
13. It's All That
14. The Funky Headhunter
15. Pumps And A Bump Reprise (Bump Teddy Bump)
16. Help Lord (Won't You Come)
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