Easily the most fertile and creative mind with the broadest inspirations in the sonic universe of “DMV” hip hop is producer, singer and emcee Kokayi. With a list of career accomplishments that sounds like the blueprint of a Rock and Roll Hall of Famer on the rise, a hip hop album release would appear to be yet another successful application of the creative mind of the artist towards a dominant career. However, on Kokayi’s latest, Robots and Dinosaurs, instead of the mainstream trending material we expect from him as a producer, we get honest expression that trends toward a lyrical introspection and an ideal that that is reminiscent of hip hop of a long forgotten era. Kokayi the Grammy nominated and MTV Jams track producer shows and proves as an appreciator of the backpacker movement. On this album where the question of being a old style and outmoded dinosaur or a perpetually cutting edge robot is in question, there is a premium on intricate lyricism and storytelling that labels him a classic performer and eminently talented, but not at the present time a commercially trending emcee. As a emcee, he’s a dinosaur, but as a producer, clearly a robot. On a creative level this is an album worthy of critical acclaim, which, for a man of his stature and talent may in fact be enough, another success in a long line of being able to sit comfortably on both sides of the table of the musical spectrum.
Lead single “Roxtar” is the single that the Shop Boyz’ 2007 hit single “Party Like a Rock Star” should have been lyrically. In name dropping about 40 rock acts, the track comes off sounding similar on a conceptual level to “Labels,” the GZA’s 1995 B-side to “Liquid Swords” in which he name drops every major label of the era active in hip hop music. As is the tenor to everything regarding this album, the attention to being a “rappin’ ass rapper” over terrific beats is at an absolute premium.
Tracks like “Wynter of My Discontent,” “Obdare,” “Chanticleer” and “Nicotine” tell stories over solid production, Kokayi’s rotund appearance, soul singer background and piano friendly R & B tracks give these songs a feel akin to Cee-Lo Green, which is by no stretch bad company. But without Cee-Lo’s gut wrenching and soul ripping performances, the tracks are excellent for what they are, but fall short of the present industry standard for this type of material.
The most telling track on this disc may be “Autumn Rules.” Kokayi the producer takes a live guitar sample of something akin to the plaintive nature of The Beatles’ “Blackbird,” and does his best lo key backbacker rhyming over it for a fantastic and unique track that stands out not just for production but for conceptual and lyrical excellence. Few emcees not just in this area, but anywhere likely possess the intricate knowledge of guitar balladry to figure how to make a rap performance over such sounds both aurally pleasing and fully credible.
In final, this is not a typical rap release. Kokayi is neither an artist on the rise or an artist thirsty for mainstream credibility. As a producer who raps (and not Kanye the “producer who raps better than the rappers”), this release feels like an attempt at exorcising creative demons on record as part of a never ending creative process. By that measure, this album is excellent. He can clearly handle himself as an emcee, but his true talents and where his sharpest skill set lies, is as a production and creative auteur. If a fan of anything Kokayi has ever created, be it the Grammy nominated Wayna cover of Minnie Ripperton’s “Loving You,” or Tabi Bonney’s “Jet Setter,”or any of multitude of other creative outputs, this album will give you a greater insight into the soul of the man who succeeds as far more than a rapper or producer, but a total musical mastermind.
3.5 OUT OF FIVE STARS
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