The popularity of trap and EDM productions among today’s top Hip Hop artists have allowed East Coast boom-bap to resurge through alternative means. Record labels such as Cinematic Music Group,Mello Music Group, Jamla Records and even Top Dawg Entertainment offer unique modernized takes on the sound. Showoff Records strives to become another addition for a renaissance that’s effectively gaining ground. Since 2004, the New England-based label has established its New York presence by shelling out respectable projects with classic sonics of yore from artists including REKS, Termanology and label honcho Statik Selektah. Showoff’s latest release comes from seasoned emcee Ea$y Money. After years of building name in the underground circuit, the Haverhill, Mass. – Boston transplant unabashedly goes for gold through The Motive Of Nearly Everybody, Yo.
Speaking on the ebb and flow of life as an independent artist, the album’s mission is self-explanatory. Allowing Ea$y Money to articulate his struggle on wax comfortably are productions helmed by Statik Selektah, 9th Wonder, DJ Premier and Buckwild. Guest verses from New York superstars ranging from Action Bronson to Joey Bada$$ thematically match the sonic aesthetic presented. Despite his street-core approach to lyricism, Ea$y Money spits more in line with Tony Robbins than Tony Montana. D-Stroy from New York nineties underground Hip Hop collective The Arsonists introduces Ea$Y and screams “You can’t spell D-Stroy without the S.T.,” helping set the tone for the album and declaring the next movement under the Showoff imprint, S.T. Records on opener “Ea$y.” Then there’s that slick usage of Lionel Richie’s vocals from Commodores classic “Sunday Morning.” Ea$y discusses his sacrifices for his ambitions in an apologetic manner stating, “I was so focused just to get this/That I even broke up with my ex’s/I hope that they respect this.” From the first snare that bangs after the sample, this LP should ensure one doesn’t skim too quickly.
Boston’s own The Archetype handles production on “Time Is Money,” a piano-laden track solid enough to stay in line with the album’s theme despite its cliched title. Hearing Ea$y’s paraphrased “give me liberty or give me death” ethos are enhanced by these bars: “I’d be dead for my son and my daughter naked/But life is two options, you starve or take it.” The M.O.N.E.Y. picks up its tempo nearly under a quarter through the project on “Nothing Alike,” featuring some signature scratched vocals from Premo himself. Halfway through, Ea$y’s lyrical dexterity and beat selection becomes a clear highlight. “For The Streets” more than proves that notion as he trades bars with label mate Termanology. 9th Wonder provides some guitar-friendly, bottom-heavy beats on “Talkin It Wit Me,” and “Took It All Way” features Ea$y’s head-nodding cadence matched alongside a melodic flute soundscape. The album’s conscious tone and self-reflection for its aspirational subject matter finds much success thanks to “Money and Blood.” The pitfalls of chasing dreams and being financially indebted are detailed well by Ea$y.
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Some tracks fail to captivate such as the Lil Wayne-sampled “The Money.” Doesn’t help that The M.O.N.E.Y. ends on an unsuccessful endnote. The downtempo “Spare Change” where Ea$y spits braggadocio lines like “I swear I don’t wanna squeeze those 9’s/But when I shoot it’s like Nowitzki from the free throw line.” A good attempt that feels more appropriate on a mixtape than album. Ea$y Money aspires to independent glory while decrying the oppressions of corporate dominance in the music industry while not taking no for an answer despite what he’s been through. The fake-it-till-you-make-it format for rap artists to become part of the nouveau riche takes a back seat to Ea$y’s brutally honest status. Coming straight from the Commonwealth of Massachusetts, this is an easy listen for rap fans and struggling artists en masse.
