For the grown-up sector of hip-hop fans, 1988 means thick
gold chains, a disturbing crack epidemic and classic music. Many remember that fateful
year as a captivating point of Hip Hop’s Golden Age – a flourishing time before
flash dominated the genre a decade later. For 19-year-old mc/producer Scanz, 1988 also represents birth –
both physically and musically. Though he was likely more interested in a toy
box than a beatbox at the time, the Golden Age clearly resonates with Scanz. His debut album, Prelude to a Legacy, is somewhat a
revival of that era. Flashing back to a day when sharp instrumentation stacked
over pronounced drum loops was the sound du jour, the album feels more like a
legacy’s continuation than its prelude.
Though Scanz
raps, “I live for the present, anything
in the past is gone,” on “Make It Happen,”
Prelude sonically leans towards
yesteryear. The nods tend to work
effectively thanks to Scanz‘s fiery
tone and gut-punching vocals as he raps, “The
perfect blend like fire, earth, and wind/You can hear the soul from it/Now it’s
time to get some dough from it/’Cause I been using up what I got, boy, it’s
low-budget.”
As part of the Rawkus
50 campaign, Scanz has an opportunity
to help redefine a record company seeking to regain its status as indie Hip Hop
heroes. “A Dimepiece“ aides that cause with reverberating snares and nimble wordplay. Meanwhile,
“Don’t Front“ features a detached
guitar melody paired with a lounge-ready drum loop, a classic recipe that has
yet to lose its appeal. The track’s cool nature shows great staying power as the
chorus echoes, “I know my flow is dope
and/I know I got y’all open/But my only concern is why/Ain’t y’all doin’ the
same?”
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Scanz occasionally
struggles to reconcile his affinity for yesterday’s sound with today’s musical
climate. It is unfortunate though understandable. Era worship is prevalent in
pop culture, especially in a genre like hip-hop that is so rooted in retro
embracement. However, placing too much emphasis on the past can lead to
disappointment. Music demands that artists accentuate their forbearers’ positives
and carry the art form through its natural progression. Where would hip-hop be
if Nas merely emulated Rakim instead of advancing The God’s genius?
Certain moments of Prelude, such as
the musically and thematically dated “I Am Hip Hop,” force listeners to choose between fond memories and a desire to
hear something fresh.
There is, however, more than enough content to suggest
that Prelude to a Legacy could prove
to be a prophetic title. Scanz has
already displayed clever writing and production talent that complement his
passionate delivery. Alongside co-producer Frank
G, he generally lays a comfortable foundation to build upon. If Scanz develops a slightly more
forward-focused approach, he may help usher-in “new millennium boom bap.” If
this is merely a glimpse of what’s to come, the future looks bright.
