Greg Dona
06/18/06, 08:33 AM
1993 saw the creation of Ugly Duckling, an underground rap threesome of Long Beach residents Dizzy Dustin, Andy Cooper, and Young Einstein. One EP and two full lengths into their career and the crew had developed a relatively extensive fan base for the genre in which they performed. Critical acclaim, however, failed to follow. Although the trio impressed legions of adoring fans a gimmicky realm about the group warded off reviewers’ praise left and right.
The issue lay in that much of Ugly Duckling’s success was bedded in their devout attention focused on ancient rap styles of earlier decades. Writer’s worried that the novelty of such an act would soon wear off to reveal a talentless bunch of hip hop novices. With Bang for the Buck the three young men show that said concern is an unwarranted notion.
The 80s influences are undeniably evident however at the very outset of the album. A beat bordering on Buena Vista Social Club background music rolls passively as MCs Dizzy Dustin and Andy Cooper make their grand entrances. It’s here on the title track that these two address the aforementioned situation with critics. They dictate “some cat gave us a bad review well I read what you said and I laugh at you … we don’t give a rat’s ass if you clap or boo,” but it seems as if solely by mentioning the press Ugly Duckling admits a subconscious desire for their acceptance. Throughout the rest of the disc blaring horns leap to the forefront as in tracks like the bouncing “Smack” in which lyrical attacks include regretted threats and repetitive onomatopoeias. Traditional instruments such as the piano playing a pivotal role in each and every song only add to the blamed novelty aspect of the trio. With so much mention of music as opposed to vocals one wonders if the actual rap is flawed and all-around unimpressive. This is not the case, as the MCs rhyme as one coherent voice with a consistent flow throughout the whole of the record other than on their dueling “Andy vs. Dizzy” in which the singers face off in a classic battle. It is rather that their vocals are consistently outshone by Young Einstein’s outrageous noises. Renowned for complicated scratches both live and recorded, Einstein’s skills are showcased throughout the disc and most notably on his standout “Einstein’s on Stage.”
This is not to say though that no qualms exist with the disc. Although lyrics present a level of intellectual complexity, they lack depth and a true purpose or destination. Dizzy Dustin and Andy Cooper revel constantly in their own rapping abilities, rant extensively about the clichéd gangster rap personas of their peers, and remind us often that they are taking it back to the good old days of rap. Such lines dull the experience and allow for the listener to lose interest and slip further into a state of sole appreciation for Einstein’s craft.
No such trivial matter however can measurably detract from an otherwise impressive album. The disc has the other elements of a successful rap album in able flowing MCs, a talented genius manning the turntables, and infectious beats backing attractive vocal patterns. Soon enough we will all realize that Ugly Duckling is not a simple flavor of the week novelty act but rather an actual musical establishment.
The issue lay in that much of Ugly Duckling’s success was bedded in their devout attention focused on ancient rap styles of earlier decades. Writer’s worried that the novelty of such an act would soon wear off to reveal a talentless bunch of hip hop novices. With Bang for the Buck the three young men show that said concern is an unwarranted notion.
The 80s influences are undeniably evident however at the very outset of the album. A beat bordering on Buena Vista Social Club background music rolls passively as MCs Dizzy Dustin and Andy Cooper make their grand entrances. It’s here on the title track that these two address the aforementioned situation with critics. They dictate “some cat gave us a bad review well I read what you said and I laugh at you … we don’t give a rat’s ass if you clap or boo,” but it seems as if solely by mentioning the press Ugly Duckling admits a subconscious desire for their acceptance. Throughout the rest of the disc blaring horns leap to the forefront as in tracks like the bouncing “Smack” in which lyrical attacks include regretted threats and repetitive onomatopoeias. Traditional instruments such as the piano playing a pivotal role in each and every song only add to the blamed novelty aspect of the trio. With so much mention of music as opposed to vocals one wonders if the actual rap is flawed and all-around unimpressive. This is not the case, as the MCs rhyme as one coherent voice with a consistent flow throughout the whole of the record other than on their dueling “Andy vs. Dizzy” in which the singers face off in a classic battle. It is rather that their vocals are consistently outshone by Young Einstein’s outrageous noises. Renowned for complicated scratches both live and recorded, Einstein’s skills are showcased throughout the disc and most notably on his standout “Einstein’s on Stage.”
This is not to say though that no qualms exist with the disc. Although lyrics present a level of intellectual complexity, they lack depth and a true purpose or destination. Dizzy Dustin and Andy Cooper revel constantly in their own rapping abilities, rant extensively about the clichéd gangster rap personas of their peers, and remind us often that they are taking it back to the good old days of rap. Such lines dull the experience and allow for the listener to lose interest and slip further into a state of sole appreciation for Einstein’s craft.
No such trivial matter however can measurably detract from an otherwise impressive album. The disc has the other elements of a successful rap album in able flowing MCs, a talented genius manning the turntables, and infectious beats backing attractive vocal patterns. Soon enough we will all realize that Ugly Duckling is not a simple flavor of the week novelty act but rather an actual musical establishment.