Bad Neighbor is the latest from innovative West Coast producer Madlib’s collaborative efforts with emcees.
In this installation, perennially underground SoCal rappers Blu and MED add their rhymes to Madlib’s rhythms to construct this interesting, yet divided album. This dividedness is key to the album, as there is a notable difference between both MED and Blu’s styles, and also the production Madlib provides.
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On one side, there are songs like “Serving,” “Peroxide,” “Get Money” and “Birds,” which feature the percussion-dominated and minimally funky beats reminiscent of Madlib’s most notable effort and underground classic, Madvillainy.
On these tracks, it is MED’s dark, disgruntled and incisive style that shine, whereas Blu seems uncomfortable trying to convert his normally upbeat, joking style to the griminess of the beat.
On the second half of the album, however, songs “Drive In,” “Belly Full” and “The Buzz” feature Madlib’s catchy — and at times poppy — production, which more closely resemble his most recent album Piñata. It is these tracks in which Blu regains his confidence and is able to get comfortable with the beat and take it, along with its listener, for a ride, whereas MED is solid but not significant.
It seems no coincidence this album resembles two of Madlib’s most notable, and most distinct albums. It is perhaps an attempt by the producer to reconcile his two styles into an album that is greater than the sum of its parts.
This effort, however, falls short for two reasons. The first is emcee selection, as neither MED nor Blu can match the efforts put forth by Madvillany’s MF DOOM or Piñata’s Freddie Gibbs. Neither is as heady or clever as prime DOOM, nor as grounded or free-flowing as Freddie Gibbs.
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This would not be a problem if Madlib consistently provided beats that combine the album’s oppositional natures. But in Bad Neighbor, he seems content to gradually segue from one style to another.
As a result, the best efforts of the album come in its middle, where the two styles blend, and both rappers are able to find an aspect of the beat that suits their style.
“The Strip” is the best track on the album as Anderson .Paak continues his breakout year by delivering an infectious hook, and both rappers are in their zones on the catchy, unconventional beat.
“Burgundy Whip” provides the shortest, but most interesting song, as Madlib and Jimetta Rose’s hook create a ’70s vibe, while both rappers are able to dig into it and provide the classic beat with modern lyricism.
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In the end, what makes this album fall short of being truly great is its lack of cohesiveness. While the middle of the album is incredible, its bookends leave the listener feeling polarized.
This is a solid effort overall, and the fact that Madlib is attempting to mix these styles is something that should make every underground rap fan very excited.
