KURUPT - Streetlights | Review By: Conan Milne


Release Date: April 20, 2010

Label: Universal/Fontana

Rating: 4/5

Dub Quotable: "Essentially the successor to 2001's psychedelic Space Boogie: Smoke Oddessey, Streetlights is the unapologetic MCs spirited attempt at greatness."

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Kurupt elicits one Hell of a reaction on the Dubcnn forums. He has his ardent supporters, the disciples clamouring to retain every verse he's ever recorded while dispelling the notion that he has ever slipped up on the mic. He also has his critics, those who almost merrily lambast his contributions but find time to comment on his every release. One suspects that the abrasive responses come courtesy of disillusioned fans. Kurupt was once quietly considered one of the greatest to recite rhymes. He's shared mic time with many Hip-Hop icons, and was memorably lauded by Eminem as one of the best ever. Recent additions to his prolific catalogue, however, led some to ponder if his skills were dwindling. His focused aggression tumbled, only to re-emerge as agitated rambling. His deft wordplay began to sound disjointed. With each yelped proclamation of "Gotti bin Laden," supporters frustration grew. Such frustration festered because fans of the Dogg Pound Gangsta never forgot his potential. They were painfully aware that this was the same lyricist that contributed to several classic Hip-Hop releases. There was always the promise that Gotti's skills would return, though - when freestyling over Kanye's "Big Brother" he insisted that "the fire's starting to bubble again."  With the assistance of his longtime champion, rising producer Terrace Martin, Kurupt offers Streetlights. Essentially the successor to 2001's psychedelic Space Boogie: Smoke Oddessey, Streetlights is the unapologetic MCs spirited attempt at greatness.

Foregoing the mundane introduction typical of most Hip-Hop releases, Streetlights' opener is instead a grand, surprisingly candid starting point. Terrace Martin has long been an advocate of productions that align old sounds with new, and this "Intro" exemplifies that. Mixing old-soul harmonizing with droopy, elongated synthesizers yields an odd result - a refreshing familiarity. Befitting such stylistic disparity, Kurupt flits between sounding like a proud veteran and insecure victim. "I consider it a great compliment to see you imitate the West and shit," he beams sincerely, adding, "It shows me just what the West did, and plus the fact that I was involved in it." However, despite his storied tenure as a Hip-Hop great, Kurupt sounds undeniably bruised at times. "I don't sell a lot of records, 'cause people don't like me," he announces. He sounds almost indifferent, but then comes the shocking, "I ain't mad at 'em 'cause I don't like me either." This entry draws as one impeccably delivered rhyme made all the more affecting by Kurupt's bewildering self-assessment.

As with the "Intro," much of Streetlights finds Kurupt towing the line between resilient and belligerent. "I'm Burnt" is joyfully reckless, with Kurupt and Problem delivering triumphant, drunken chatter over Terrace's upbeat minimalism. Immediate successor "Questions," however, is obviously hostile. Over stormy production, Kurupt repeats the opinions of his harshest critics, snapping, "Here's what they think about you / The muthafuckin' rap game's better off without you." His snarled delivery alone suggests such critical proclamations have left him deflated, but then Kurupt suggested earlier on the record that Streetlights is "a party on the West Coast." Doing his best to shrug off such intense scrutiny, he scatters the album with several self-assured cuts. Some, such as the Pete Rock produced "Yessir," work perfectly. On the whole album, this is arguably where Kurupt sounds the most content. A wonderful Soul Brother instrumental has Kurupt sounding so relaxed that his lyrics are almost whispered. Some others sound forced though. "In Gotti We Trust" boasts an epic Terrace production, but this only motivates Kurupt to spew forced, nonsensical verses that sound the part but amount to little.

With Streetlights, Kurupt has crafted an album far more detailed and multi-faceted than some might expect. Early speculation suggested a "feelgood" record and, while such tracks certainly feature, this is an album that showcases Kurupt as an artist far more self-aware than previously thought. The most consistent belief held by Kurupt throughout is an endearing one - a shaken, but nonetheless detectable, confidence in his own skills. Incessant message board discussion has left Young Gotti with two options: he can continue "not giving a fuck, while all y'all bitching." Otherwise, he can harness his ability and deliver the kind of music that even those who struggle to embrace him would deem undeniable. Ultimately, he flirts with both. It's telling, though, that on Streetlights' final track, a perfectly amended version of the already sublime "Bounce, Rock, Skate," he bellows his final verse with the burning determination of an MC intent on proving any "Kurupt fell off" forum threads as grossly premature. The fire is bubbling again, and the ardent supporters of Kurupt can point to Streetlights as confirmation of his considerable - and continual - talent.

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The views expressed here are those of the authors and not
necessarily those of Dubcnn as an organisation.
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