Album Review: Reason – Landlords and Lullabies (2010)

Album Review: Reason – Landlords and Lullabies (2010)
Rating: 3.5 out of 5 Potholes
Buy: Reason – Landlords And Lullabies

For anyone needing further proof that hip-hop is indeed everywhere, this one is for you. A member of the Rhode Island (yes, Rhode Island) hip-hop collective Poorly Drawn People, Reason truly represents the underground – and does the entire sub-genre proud.

Things kick off with the appropriately entitled “Apocalyptic Sunrise” which opens with a barely audible sample that increases in volume before the introduction of rolling, hard-hitting drums that is reminiscent of an island track. When finally Reason chimes in at the 1:20 mark, the listener is ready to hear what he has to say – and he doesn’t disappoint. As the title would suggest, this is the dawn of a new era in hip-hop; Reason’s chorus attacks the status quo (Sunrise on apocalyptic landscapes/all I want’s a cup of coffee and some pancakes/making sense of double talk and secret handshakes/how many rappers can you fit inside your fan base?

The boom-bap of yesterday’s best hip-hop is evident on “Release” and Reason’s personal lyrics give the track a 2010 update. The catchy chorus, for lack of a better term, is anything but commercial – but it does reveal a glimpse of the MC. He’s an unapologetic hip-hop head who is addicted to words and he doesn’t care who knows it. The fact that he uses those words so well definitely helps. “Designer Kids” features Poorly Drawn People member Storm Davis and is a scathing commentary on pretension, with art serving as the backdrop. Both MCs sound at home of the slow-moving, hard-hitting track – and both offer fantastic insights into the lengths people will go to be “real.”

Both “Paid Bills” and “Girls with Cameras” are absolute bangers; the former makes fantastic use of a piano sample and jazzy horns, while the latter also utilizes horns, it’s the vocal sample (a hum) that drives the track. Reason’s lyrics match the tracks step-for-step. On “Paid Bills” he address the day-to-day life of an underground artist (your city it ain’t ready for us/time to pack up our bags but we can’t afford the bus/so we get drunk to forget that we rap/like did you bring the mics? I thought you did Jack); “Girls With Cameras” is a hilarious ode to the women he loves (I need a women who can pay these parking tickets/and I like a girl who knows who the f#*k Slick Rick is).

“MyCity YourCity” opens with a familiar sample and utilizes a vocal sample for its chorus – and Reason takes the opportunity to show off his lyrical prowess (I got enough hobbies, music isn’t on the list/so did your passion disappear along your quest to be the s*#t). “Decaf Blues” serves as a funky state of the union, if you will. But it sounds good.

On “The Touch,” the album’s previous tracks, and the lyrics within, serve as the backdrop for what appears to be a typical bar pickup (“Designer Kids” and “Paid Bills” specifically). The MC seems to be falling for someone who possess the traits he claims are so repulsive, thereby showing he’s not without flaws (and, simultaneously, offering the listeners a glimpse into his personality).

“Distracted” features Esh The Monolith on the hook and it also showcases some of Reason’s best work. The lyrics are a perfect blend of pop culture and world news – and clearly illustrate how easily we can be distracted from what matters:

Distracted by the propaganda macrocosm movement

And all you want to talk about is if I purchased Blueprint

My threat level’s black and my water is brown

And the weather really sucks when you’re living underground

What’s really going down is none of your concern

Cause you were too distracted by the pork chop germ

FDA approved pesticides inside your food

Magic box got you glued to Erin Andrews in the nude

Reason tackles two more old-school themes in “I Don’t Want to Build” and “Clingers,” but offers his own twist to both. The former, a track about his life as an MC and the fact that he didn’t pursue it, is a twist on the usual braggadocious tales of MC supremacy. The latter, featuring Dirty Hank, is another ode to the “ladies” that shares the blame – for a change. In both instances, it helps that the production is top notch.

The album features production from Falside (7 tracks), PhillipDrummond (3 tracks), Esh The Monolith, Justin Catoni, DRUMAT!C and Dox (1 track each), yet works as a cohesive unit. While the tracks differ, there does appear to be a theme for the album – and that is a very good thing. “Let Her Sing,” the Falside-produced track without any vocals, is an absolute gem – and the listener is left craving Reason’s voice on the track.

Landlords and Lullabies is the perfect vehicle for the MC to introduce himself to the greater hip-hop audience. Fans of his work with Poorly Drawn People have been clamoring for this release since the news broke – and Reason certainly delivers. For those who are late to the Rhode Island underground scene, you’d be wise to pick this up as well; after all, good music is good music – and this certainly fits the bill.