Not to be confused with The Kids in the Hall, a Canadian offshoot of "Saturday Night Live," The Kidz In The Hall are one of the major, almost out of nowhere, surprise groups of 2006. The Kidz, consisting of Naledge and Double O, dropped their debut album, School Was My Hustle, this year on Rawkus Records. And it is almost reminisinct of back in the days classic 80s hip-hop.
Co-signed by the likes of Just Blaze and Pete Rock, the Kidz seemed ready to make 2006 their breakout year, although they've seemed to have emerged out of thin air. But considering the ranging credentials of Naledge and Double O, it's no wonder they've been able to move on the music utterly so easily.
Although a tad bit short, School Was My Hustle packs a punch and every song has it's own unique characteristics that make it an album worth listening to from beginning to end. It has a Dead Prez like consciousness, but with a Gnarls like positiveness that makes for a nice combination.
The first track "Hustler's intro" is a tenacious intro, to put it best. The chilling beats and background music sets the stage like a major battle is about to commence. The highly educated Naledge -- He's an Ivy product, what more needs to be said -- is deadset to bring others out of the "struggle" and into a legit lifestyle.
The second song "Ritalin" opens with pounding military like drum beat, which appear to ring in that battle that you felt was coming. The lyrics on it don't mesh as well as they will latter on the album and prevent the track from reaching it's full epic potential. Later on "Wassup Jo," Double O and Naledge finally flow like they're capable of. The lyrics catch your thumping head off guard, in part proving that the Kidz have a little chip on their shoulder with a lot to prove. The Kidz are aware that groups have made it in the past with far less talent, so the boys are ready for their time. They preach that the revolution is here, and taking into account the state of the nation and of music, a major "revolution" is most undoubtedly necessary. "Yo, I rock for the thugs / Rock for the hipsters / Rock for them backpack n----s holdin' they fists up," raps Naledge, as he let's loose his wisdom to a variety of people from dissimilar backgrounds. The beats and horn loops at times are repetitive, but it's hard to want more because they are more than fitting on these tracks.
The horn sounds on "Wheelz Fall Off" hit deep within the soul, piercing it like an arrow. Naledege spews that, "I spit for my sanity and not for entertainment," and later, "I don't listen to radio / singled out like McCarthy / trying to be black Mccartney."
Naledge proclaims that "Jesus didn't die for me to drive in a Lexus, he died for me to change the world." And that, "The only way to loose is to fail to try."
Those lines offer inspiration and guidance for youngsters that are confused about what life has in store for them and what paths they should walk on. Naledege talks about letting his ancestors speak through his voice, obviously aware of his roots and what it took for him to exist and be in the position he is now.
At this point the Kidz are touching on and sampling a variety of musical stlyes with the beats and loops keeping the album interesting and musically suspenseful at every turn.
Naledge particularly emerges powerfully on "Ms. Juanita" paying homage to the past of hip-hop while still finding the time to make lyrical love to the ladies on the track. "Cruise Control" opens up souding like some 70's funk groove and Naledge is so on fire, rhythmically, that the fire department, better yet an ambulance should be called for.
To match that, "Go Ill" begins sounding like an Al Green love anthem. The Kidz In The Hall rep the hometown, like every group does this day and age, but don't get overly caught up in the city versus city bragging rights game. These are not bling tales, rather slightly different perspectives on the streets and life in general.
No. 8 on the album, "Dumbass Tales," is storytelling at it's best -- about middle-class thug wannabees who wear designer clothes yet sling cocaine like they have nothing to live for. Naledge slings some provocative insight, not exactly providing the answers, but allowing them to subtlety become obvious.
The climax of this battle of an album comes on "Move On Up" where Naledge utters a sadly true statement about current affairs, "We got the right to remain silent while they got the right to remain violent." That right there is a chilling confession about life during the rise of the police state in the post 9/11 world.
The rest of the album remains silky smooth while admitting a few of the contradictions of the culture, and what might need to be done to make things, a.k.a. life, better.
Basically, School Was My Hustle is a near masterpiece, and shows that not only is hip-hop music of the past and present still alive, but will be a trademark of the future due to groups like the Kidz as well. This album is definitely one of the new school slept on classics.
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