Schoolly D Albums (6)
What The Critics Say
Without a major release in several years and with little mainstream success over the course of the 1990s, Schoolly D quietly released Funk 'n Pussy in late 2000 to an indifferent public. Though the Philadelphia rapper relied more on exploitation than talent to first make a name for himself in the late '80s, this album suggests that Schoolly may have found some substantial inspiration in the late '90s. First of all, he deserves accolades for producing this album by himself, an accomplishment that few rappers can claim and a feat that he performs in a rather stunning manner. Granted, Schoolly's murky and collage-like beats aren't going have the rap industry knocking on his door, but they do sound quite inventive with their messy chaos. Secondly, the chaotic production serves another worthwhile purpose by slightly eclipsing his rapping. With his vocals buried in the thick mix -- well below the samples, beats, and other assorted sounds -- it becomes less apparent that Schoolly is a mediocre rapper at best. When the vocals do manage to come across intelligibly, it's clear that the pioneering gangsta rapper still claims to be "hardcore to the motherf*ckin' bone," which should make his small cult audience happy. In the end, this album comes across as an admittedly interesting listen not so much because of its innovation or craft, but rather because of its uniqueness -- Schoolly's indifference about the norms of rap production proves him well. Yet beneath this novelty, he's still an old-school rapper, not an engaging quality by any means in an age chock-full of mind-blowing MCs. Funk 'n Pussy isn't fascinating enough to resurrect Schoolly's sunken career, but it's interesting enough to warrant a listen if you're a dedicated fan of his unique approach. ~ Jason Birchmeier, All Music Guide
What The Critics Say
Nobody should be shocked at how influential George Clinton was to his '80s- and '90s-era hiphop brethren; Philadelphia's Scholly D is among the many hip-hoppers acknowledgng the Clinton's impact -- down to the '70s-era cartoon character's exclamation ("Damn, bopped again"). The sound on Reservoir Dog is as dense as previous albums, but Schoolly doesn't skimp on the groove. Unlike other artists who produce themselves, he appreciates the virtue of simplicity and does all the keyboards, leaving the rhythm work to a small supporting cast. (Longtime DJ Code Money is present, but mixed less prominently than prior albums.) The organic approach stays largely sample-free, resulting in a sparse, but uncluttered sound. Rhyming-wise, Schoolly remains focused on the foibles and follies of urban America. The standout track is "Nigger Entertainment," which satirizes the banality of urban violence taken for granted -- a drift abundantly mined on "Hustler Life" and "Gotta Hustle to Survive." (The latter track is one of several featuring Tamika Vines's forceful vocal presence.) Other tracks draw loose inspiration from today's film noir malaise -- notably "Date With Death" and "Eternity" (which credits its inspiration to director Abel Ferrara, who's used several Schoolly tracks in movies). But Schoolly hasn't checked his fun at the door, either, as the bumptious bass work on "Ghettofunkstylistic" and "Welcome to Funkadelica" makes clear. In many ways, Schoolly's vision hasn't moved terribly far from dark-humored classics like "I Know You Want to Kill Me," and he's hardly the deftest lyricist that picked up a microphone (rhyming "drunk" and "little punk" may well be grounds for calling out the cringe police). But the fans who've followed him this long probably couldn't care less, because his entertainment quotient is proudly intact; sometimes, that's good enough. ~ Ralph Heibutzki, All Music Guide
What The Critics Say
Schoolly D returns with a spare, dark attempt to recapture the gangsta audience he helped create back in the 1980s; it helps that the record contains the best music he has ever recorded, although the best moments can't hide the fact that Schoolly D doesn't have the lyrical grace of the rappers that followed his footsteps. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
From recording some the earliest examples of gangsta rap to becoming one of the first artists signed to the Rykodisc label and then on to scoring Abel Ferrara films and becoming the Aqua Teen Hunger Force narrator, the crazy career of rapper Schoolly D begins here. Kicking his homemade debut off with "Rock music is a thing in the past/So all you long-haired people can kiss my ass," Schoolly shamelessly gives the hood people what they want with six tracks of sneakers, skeezers, guns, and money. He may not have set out to create gangsta rap, and his style is much looser than the hardcore baller stance that would later dominate the genre, but letting people know what time it is by giving Joan Jett's "I Love Rock n' Roll" an answer song that mentioned automatic weapons and getting high on "cheeba" set him on the path to becoming one of the earliest poster boys for the evils of rap. While lyrics like "Say it loud/I love rap and I'm proud" were standoffs to one audience, they were "hood lyrics for hood people," direct messages to the inner city delivered, packaged, and distributed by Schoolly himself. From the amateurish but wonderfully alive cover art to the raw beats and scratches provided by DJ Code Money, the rapper's debut is entirely homegrown and cheap in the best way possible. The "gangsta" tag the record has lived with doesn't touch upon the humorous and fun, sleazy subject matter and slang-filled rhymes, which when combined with the D.I.Y. packaging and recording make this something akin to the hip-hop version of the blue humor "party record." Luther Campbell was listening, and began dreaming of 2 Live Crew, but more importantly so was Ice-T, who has cited Schoolly's syncopation on "P.S.K. What Does It Mean?" as one of his -- and gangsta rap's in general -- biggest inspirations. ~ David Jeffries, All Music Guide
'Am I Black Enough for You?'
Release Date 7/27/1989
Tracks 20
Label Jive
See Album Tracklist and Review
What The Critics Say
Although there are more underground hits on Schoolly D's self-titled debut, his sophomore effort is a better album thanks to higher production values and more direct songs. The song lengths are generally shorter, making for a full-length with greater impact, and DJ Code Money has bought a better drum machine and discovered the joy of dropping quirky samples from cartoons on top of loops off funk records. "We Get Ill" and "Dedication to All B-Boys" are hard anthem highlights, while the underground favorite "Saturday Night" was the kind of sleazy tale of misogyny that put Schoolly in hot water with many critics and community leaders. It didn't help that his delivery had become much colder, sounding a lot less like the ghetto vaudevillian persona on his debut and more like the musclebound menace to society now found in hip-hop history books. Capping off what is otherwise the most representative early Schoolly D release is an odd number that points to his future in soundtracks. "It's Krack" features Schoolly mumbling gibberish in the background as spacy synths and strange scratches create an eerie soundscape. Originally released on Schoolly's own label, the tracks from Saturday Night! The Album received wider exposure when the young Rykodisc label released The Adventures of Schoolly D compilation, combining all the tracks here with his self-titled debut. ~ David Jeffries, All Music Guide
