By Malice Intended
“America’z most complete artist” emerges from the studio with his eighth solo album in 20 years. The formula hasn’t changed much since Rhythm-al-ism, but that’s not necessarily a bad thing. DJ Quik has always been a true musician, amidst a sea of beat makers who operate under false pretenses. The Book of David is steeped in his appreciation of sultry, funky grooves.
“Fire and Brimstone” sets things off with a healthy dose of exactly what its title implies. As clattering drums cascade from the heavens, jazzy keyboards add a bit of order to the chaos. “Ghetto Rendezvous” is another of Quik’s vitriolic diss records, and harkens back to his classic feud with MC Eiht. It’s coming from a slightly more personal perspective than any of his rap beefs, but it shows that even his more mature incarnation doesn’t take lightly to scorn or slights.
Sonically, “Luv of My Life” evokes the relaxing side of California life. It’s the kind of song that might’ve been a hit in the early 90’s. Quik chastises the current generation for its neglectful treatment of gangsta rap’s legacy on “Killer Dope.” Musically, the rather melodic vibe feels at thematically odds with the subject matter. even though the marriage of sound and vocals is mostly successful.
While DJ Quik albums are known to maintain a fairly consistent party vibe, they also allow a darker sensibility to rear its head every now and then. On “Babylon,” Bizzy Bone interpolates the chorus of Tenor Saw’s reggae standard “Ring the Alarm.” Though not very memorable from a lyrical standpoint, the track bleeds raw anger and frustration.
“Boogie till you conk out” is an enticing party song designed to appeal to the ladies, but in a more mature way than most rappers ever attempt. Ice Cube joins Quik for the festivities, and the results sound wonderful. The combination of guitars, deep drum sounds and ever so slight wind instruments make for a fun yet relaxing composition. On “So Compton,” Quik yet again sings the praises of his hometown, but in a way that stresses affection over machismo.
“Time Stands Still” is a duet with Neo Soul mainstay Dwele that incorporates a dash of Reggae flavor. Never one to forsake his roots as a funk music enthusiast, Quik allows P-Funk All Stars musical director Garry Shider to bless the intro of “The End?” with his melodious voice. Thankfully, this is hardly the highlight of the song as it goes from a cappella singing to a full on composition. Quik flexes his musical muscles to great effect.
The album concludes with “Quik’s Groove 9.” It is here that the listener really gets a chance to experience Quiks genius behind the boards. As usual, it’s an instrumental. It doesn’t conform to the strict “boom bap” definition of what Hip-Hop should be, but that shouldn’t be an obstacle for listeners whose musical horizons are broader than that. Quik lets the music do the talking. It’s a very solid entry in the 18 year old series.
As refined a celebration as The Book of David is, the party unfortunately goes on a bit too long. Jon B appears on no less than three tracks. Bizzy Bone and BlaKKazz K.K. of 2nd II None also have multiple guest appearances. Having these artists appear so many times during the course of the proceedings diminishes the novelty value a bit with each song. It also makes The Book of David feel like something of a group effort as opposed to a solo album at points.
The Book of David continues the musical evolution that began in earnest with 1998’s Rhythm-al-ism. Despite his allegiance to the gangsta nation, Quik’s music has always betrayed a deeply hidden desire to lead a life of leisure and contentment. That voice is alive and well on The Book of David, and manages to make itself heard despite the albums considerable flaws. The albums layered, richly textured production stands as a testament to what a “Hip-Hop producer” is capable of when he possesses a true love of music.
Out of 5
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