The God be dreaming P reverse a return from the essence,
a transition deterred, deffered manumission, uh!
Knowledge the wisdom, ideas used in my dome
Revelations of purpose, understanding in 3’s
Slum, sket, slattern
Friend, weapon and manners of despise
Patterns of people that played in performances by P!
A ballet of the bully balladeer,
Heels to the floor, toes trapped in Timbs
The formalities of Brownsville roots
Tightness tatted to verse, men tatted in tights in hearse
The way, a sophisticated Tao of Black blood and white noise flowing in speared questions
Laughter of the yin, Polo bear bellies rumble with the charisma of the oppressed
Fire of the yang, collapse the ill will of the sickly skilled
P!, a supreme being return from whence he turned by the beckon of the button that wields his bars
The absolute star of these 2010’s I have named #InvisibleRenaissance and he is somewhere in the warmest clouds of our minds. Unseen because this resurgence most likely won’t be heard by far too many, eighty five percent really, a street corner calculation I made on the knowledge power day. Or any other day as the ideas of a priceless man will have endless propulsive influence on our minds. Sean Price, because of the pioneering executive production by his wife Bernadette, we have another LP, a lasting piece of his greatest techniques to remember in perfection.
Crafted organically around around the theme of Price as a master poet out of an every poor Black man’s struggle, a family man, foregoing fame that fizzled, who comfortably lived in the dominance of his talents. And imperiously, this extra ordinary riddle of the Rex is unraveled. In an album with a solid score he would’ve certainly sanctioned and a display of massive techs and dynamic character.
Firstly, Imperious is filled with highlights of his abnormal amount of tempo mastery. There are the phrased punchlines that pause on deliberately planned awkwardness for effect (“The slugs move everything around me, S.M.E.A.M/Huh? What the fuck that mean?/Kick over the kids stroller nigga Ruck that mean…” – “Refigerator P!”). The setup pacing of battle scenarios as “Definition of God” where he shows the phrased pacing to roll words back and forth barring them then rebarring them creating an internal mesh, “Loot for a curl/rappin’ at you; you cute for a girl/
I ‘url on you duke, now you be the Duke of the Earl/Listen, don’t make dollars that don’t make sense/I do make dollars, dumb bars don’t make cents, uh!/The education of Sean Price…” When the tempos are increased he preps it perfectly as on the acapella prelude to the beat drop on “Resident Evil” quickly barring after the “Magilla” pump chants, “The godfather/Big black brother with burners and large armor/Big bottle of brown, call it the car starter/Rape an atheist ’til the bitch say, “our Father”/Hail Mary…” This exceptional uptempo skill is achieved again, possibly even greater, on “Rap Professor,”…
It leads to a second major highlight of his comedic tones that never dissipate throughout and are exuded into his most potent themes. We can easily begin with his skits as the “Not 97 skit” making the ever deserving joke of Funkmaster Flex to select song intros (“I could tell by your beard you don’t love Allah/You got the Bryant Gumbel face” – “The 3 Lyrical Ps” and “What do I love about rap? Me” – “Dead Or Alive”). It is even done in subtlety as in the “P!” adlib after versing, “…screaming on the corner like a Hebrew Israelite…” He yells out “P!” right after in an overly aggressive screech and I’m right there in the Ephraim tribe next to him as he’s from Judah, loudly quoting and overestimating the scientific premise of Bible verses, all dressed in medieval Power Ranger garb.
Sean P’s comedic skill is in his timing. The deadpan delivery that shifts from ridiculing corny pseudo-cerebral rappers to becoming a focused menace (“I can’t lose/The best MC in my hood, I can’t choose/Worst MCs in my town, I can’t cruise…” – “Apartheid”). The violence in lyricism, the core of the Brownsville, Brooklyn experience of hells lived turned to art instilled, he constantly brings magnificent alliteration and internal layering, at top speeds, punctuating with his embraced pop culture character personas (“Four-fifth in your face/And your faculty of fuck boys forfeit in your face/Shitting, mortician sippin’ on grapes/Prepaid, premeditated, murder the 8th, P!/Idiot kinfolks/AKA the ape in the window (Magilla)” – “Dead Or Alive”). Then on “Rap Professor,” he never fails to lose a conversational tone that talks to you while laughing at you so others, we listeners, may laugh with him. Exceptionally difficult bars to deliver cleverness in its complexity (“Sucker slurps niggas is psychologically swallow dick…”) whilst sharing one of his major understandings he’d share was that most had “…fact filled rap that’s wack when you kick it…” but P is leading again with complex vocabulary, internal rhyming with alliteration for deep melodic layering saying, “Listen, I’m the magnificent the mathematical magical misfit/Technique is tactical, clap at you and your bitches/My rap terrific, my rapping is explicit…” P had a way of insulting the efforts of nearly everyone and then revealing that he had those same gifts. That even if rarely implemented or never used overtly, you still weren’t better, in fact you wack, “that’s the shit I don’t like.”
Remembering, quietly recite a sanctifying sutra:
Lord Jesus Price,
You had rhymed for us,
Now thou one with us.
Where right is lost and sold is sin,
Blessing souls through song bins.
May we laugh and bash evil we see,
In our own revolutions in perfection, P!
It is Sean Price’s most high artistic ability to relay themes without anyone being burdened by them is how he caused them to be embedded in you. Creating the anti-Black on Black crime saying we all must utter seems almost done effortlessly on the title track. He rhymes and suddenly stops and realizes in self conversation,
“Fuck is you talkin’ ’bout man?
Spit that monkey shit, nigga
We gorillas, nigga
APE DON’T KILL APE”
The beauty of this is that I once lamented to P that I hated that fans, particularly the crossover and/or white non-Hip Hop fans were often laughing at him and not with him. A natural comedic aura of violence and goofiness that contained every spectrum of the Black man in the Syl-named concrete reservations. It didn’t bother him and most of us that write and perform art, we won’t even allow our works to allow a moment in any line from pages to any stage, to let ourselves be ridiculed. It didn’t matter with P and when he embraces us being seen as animals, he says we’re apes, not monkey, none of them he cipher monkey ciphers are jumping around here. And when we see our people, we know “Ape Don’t Kill Ape.” This is why we loved him and forever do. Empowering slaps, saps is cowering..
The third major highlight of Imperius Rex are the wonderful humanity exposed due to Bernadette’s brilliant work. The bookends of their beautiful daughter, the ever dynamic Shaun Price on the title track with “Dead Or Alive” following and the finale of “Price Family” reveals the humanity that it was to know P beyond the recorded surface. The time spent with his daughter, showing her that expressing yourself freely is a tradition allowing her to perform. It certainly traveled into the wonderful time spent interviewing her for DJ Toshi’s Classic Storm Radio. The interview excerpts that reinforce the real care he took in his writing followed by a ferocious display by P! and his wife powering through the chorus, “Dead or alive y’all niggas can’t fuck with P/Bernadette and the league who the fuck you be?” on “Dead or Alive.” The interspersing of P’s small moments with his wife (“I’m out with my spouse at the house of Mofongo/Dominican place, diminish the plate/Smoke a bowl then fart the decision escape/I make nice rap shit/Great life, straight fight, ape-like tactics…” – “Rap Professor”), the life of an MC was a real man, a benelovent true and living brother, who was an otherworldly gift to the Arts. All to the utterly joyous finale of “Price Family” as they interpolate the All in the Family sitcom theme to priceless effect.
Imperious Rex has beats that aren’t progressive in their sampling or arrangement structures as the signature work, Mic Tyson. However, the production is ideal Boot Camp Clik with producers Stu Bangas, 4th Disciple and Crummie Beats really shining in execution and matching the lyric themes. This also includes the featured Wu and BCC MCs on “Clans & Cliks” and Ruste Juxx on “Ape In His Apex.” For Bernadette, she has executively produced a testament to a family legacy of Original Creativity that honors its father figure, allowing us to remember in perfection.
#LavoeREVOLT, hashtag collect such a spectacle of a spic.
A speck of dust, been the actual fact of Black, Black
this spic is a must
The God be dreaming P come back
Slum, sket and slattern
Patterns of people that played in his performance
A ballet of the bully balladeer,
Heels to the floor, toes trapped in Timbs
The formalities of
Tightness tatted to verse to men in tights in hearse
Still the lone Lo Life with the home sewn garment
Tell Ralph I’ll dress myself when
Patches of Boriken flags I mend
emblems of the wooden Wing Chun
adorn such a man well hung
Legs, arms, back and brain, ordained Allah
The Five-Four frame carry the weight that civilize the savage Pa
Dreaming in bars you see
Remembered In Perfection P!
#LOVEandLOYALTY A #LoLife
The organization of these principles around a counterculture, an expressive arts of creation that uplifts the ideas and thoughts of an oppressed people, is why I’m an honored builder amongst legends, knighted by heroes of Medina (Rakim Supreme Shabazz Allah/Rudy Lo, Thirstin Howl the 3rd, Bonz Malone) to further create in my element as a Hip Hop Writer of #ArtOnArt & #ScienceOnMusic. So the world may find love that locks in with the action of loyalty though they may never find another writer with my kind of grammar…
Representing the pillars of:
Peace, Sunez Allah