Rrraaaow! Rrraaaow! Like a Dungeon Dragon

I was recently treated to a show by the legendary MC and one-man cyclone, the unique and irrepressible Busta Rhymes. I should clarify that this was not just for my benefit, but rather Buss-a-buss visiting London town with his ever loyal sidekick Spliff Star on promotional duties for his latest LP “Blessed”, and ripping it out for an equally loyal crowd here in London town. This was the first time that I have ever witnessed the man live and direct, and what was refreshing about the show was the sheer energy and entertainment value that Busta put into his performance.

I have witnessed a few shows recently that I have begin to label as legacy-baiters, established artists with little of anything original to say, but coerced to keep touring to shift units of a new offering, and secure the status of their back catalogue. And I don’t think this is just a rap thing by any means, it’s just that when a rapper is visibly not really giving it anything like their all, it seems to hurt a little bit more. This might be because of hip-hop’s modern dependence on rhetoric and hype over actual innovation and talent, but more I think it just grates when a show consists of a hype-man and DJ doing more work than the main star, and when the performers have to keep telling you how good the show is, and how great they are.

Braggadocio is always a mainstay in hip-hop, and rightly so, but too many shows these days are little more than half-arsed PAs, the show providing some ready cash and a minor irritation between the partying of tour life. Don’t these guys realise there is a global credit crunch on and there needs to be more bang for the buck, more sweat-towel ringing for the blinging?! Anyway, rant over. Because despite Busta finding himself slightly in the black hole of questionable modern day relevance, yet with a status befitting a legend, he still knows that the best way to hold on to his hard-fought position is to work as hard as ever, if nor harder, to impress existing and new fans.

Of course we have known ever since he burst onto the scene as part of the Leaders of the New School that Busta Rhymes is far from just your average rapper, instead coming across like the Marvel superhero of rap, larger than life itself and with a one-off flow and cartoon-like energy that simply demands attention. And this comic book analogy is not intended to be derogatory in any way, because behind the wild dancing, souped-up appearance, gruff voice and wickedly twisted and often humorous rhyming, is a rapper of immense talents.

One of the finest, point blank. We all love his scene-stealing appearance on Tribe’s archetypal posse cut “Scenario”, the verse to end all verses, and which launched him fully into the mainstream. We love also his evolution into an MTV superstar, riding innovative beats with consummate ease, spitting rapid-fire and more measured verbal darts of pure inspiration. From “Woo Hah!” in 96 through to “New York Shit” ten years later, Busta has produced some of the biggest cuts of the past decade and demands respect. And the thing about him which I think is often over-looked is not only his lyrical invention, but also his innate ability to nail a beat, no matter how twisted or syncopated.

He has a knack for twisting his words and flow around the trickiest of rhythms, the most jarring of beats, and it is an easy skill to take for granted. A good example comes on last years’s welcome mixtape “Dillagence”, produced by Mick Boogie and featuring Busta and guests over Jay Dee tracks. Taken from album off-cuts, unreleased tracks or re-released classics, this is a solid and in parts inspired example of Busta’s skills as an MC. Of course, Dilla’s beats are always on point, and the pair had produced some inspired moments in recent years anyway. But this project is a worthwhile addition to the mix, a showcase of what was and could have been.

Dilla’s own originality was of course one of his strengths, but also many of his beats have a peculiarity which themselves demand a certain kind of talent to showcase their full strength. In places on this offering Busta seems born for the role. See how he outshines both Talib and Q-Tip on the Donuts-beat of “Lightworks”, or standouts “Baggage Handlers” with Raekwon, “Takin’ What’s Mine”, and the storming “Step-up”. All choice cuts, and all taken to another level by Busta. As far as I’m concerned, wherever he goes from here, Busta’s legacy is watertight.