As Little Brother, made up of North Carolina MCs Phonte and Rapper Big Pooh, reminds the audience on just about every song, the group is a “throwback,” emphasizing topical lyrics over simplistic odes to materialism, or whatever it is they think other rappers do.
Their 2005 release The Minstrel Show was the culmination of this, an album focused on family, love and other easily relatable everyman subjects. Aiding this revival was the Frooty Loops soul of then up-and-coming super producer and former group member 9th Wonder. The album was well-received for its catchy tracks, but many (including this writer) criticized Little Brother for his loudly proclaimed superiority to other, more “mainstream” rappers. A mildly publicized falling out with 9th Wonder in 2006 curbed expectations for a Minstrel Show follow-up, but two years later, here it is.
GetBack begins with “Sirens” and the sample-heavy bounce of producer Illmind, who contributes three tracks to the album’s concise 11. Immediately, the problem with GetBack is apparent: simplistic, preachy rhymes combined with unconvincingly “empowering” lyrics. Fighting back against a faceless “them” played out effectively when Public Enemy dropped … in 1987. Still, that won’t stop Phonte from rapping about it.
The second track, “Can’t Win for Losing,” is actually exploitive of how whack an MC Phonte is. His self-pitying, overly analytical lyrics are zero fun, especially when the song’s simple boom-boom-clap is practically begging to be graced by a more dynamic showman. The mention of a “throwback sound that’s fresh” beats it into the listener’s head that Little Brother’s trying to take it back, y’all.
9th Wonder does show up for “Breakin’ My Heart,” far and away the album’s highlight. Phonte blesses 9th’s infectious soul-sample with more uncreative and simplistic MCing, but luckily, head-scratching guest spot Lil Wayne shows up out of the blue (or purp) and does his best to salvage the track. Unsurprisingly, Weezy F.’s clever references (Sade, the Texas Rangers, roller coasters) and humorous swagger are miles more fun than anything Little Brother brings to the table.
The rest of GetBack is probably best described as inoffensive but unremarkable. Denuan Porter drops off a solidly soulful effort on “ExtraHard,” while Hi-Tek lends the refreshingly understated “Step It Up.” Fellow Justus League member Khrysis, Rashid Hadee and Zo! also provide interchangeable, uninspiring tracks. Nottz’s “Two-Step Blues” is a bright spot, combining jazzy horns with lo-fi sampling to form a smoky, celebratory backdrop. Forgettable cameos by singers Darien Brockington and Carlitta Durand fail to really lend the R&B flavor for which they were included.
But no roster of cameos can mask the inherently flawed vision and execution of Little Brother. Lyrically, Phonte’s punch lines range from corny to lame (“Dig a little deeper for that PF change/ For PF Chang’s”…), and despite having one of the great names in hip-hop, Rapper Big Pooh is only slightly better. Their subject matter is mostly cultural criticism, with clubbing and weak game among Little Brother’s attempted targets. Time is still allotted for an ode to getting fly in “Good Clothes,” saved by Illmind’s Just Blaze-lite horns and a half-decent effort by Big Pooh. However, overall, neither MC spits with much conviction or enthusiasm on this album.
In evoking a sort of purist, “golden age” vibe, GetBack falls flat. Phonte and Pooh put forth a simply unexciting performance on the mic, devoid of memorable moments. Instead of trying to capture the fun and beautiful simplicity of “old school,” Little Brother uses it as a meaningless mantra. A rapper’s basic duties are to rap well and rap engagingly, but GetBack is too concerned with its agenda to feature either.
2 stars out of 5 stars
