There’s something to producer-rapper collabs where the synchronicity between the two often hits an all-time high. Often, some create synonymous collabs throughout the years, and seeing them go with someone new is as refreshing as those slices of mango from the fridge. For Los Angeles Rapper Blu, a fan like myself has longed to see him get a little more loose, edgy, and free from the apropos styles that reflect much of the boom-bap era but with more funk. Though Real Bad Man isn’t so much a switch from it, they still deliver their self-proclaimed fire ass beats. From their collaborations with Boldy James, Pink Siifu, and Kool Keith to the recently released Real Bad News with Blu, Real Bad Man’s self-proclamation continues to ring true. It’s one reason that Real Bad News succeeds in being memorable and lively throughout its brief 23-minute runtime. In hindsight, it’s a first for Blu as he doesn’t deliver such swift and breezy albums, as most times, he’s bringing resounding depth in longer tracks, while here, he’s bringing more ferocity, and that hybrid fits beautifully.
Real Bad Man’s beats on Real Bad News are rudimentary to boom bap but still unique and more nuanced with its elevated modernist takes to deliver refreshing notes. What helps it is Blu’s writing, which here is a little more bombastic than usual but still retains his multi-layered structures and themes; he’s bringing to life the image of the album cover and the idea that this collaboration is “bad news” for the Hip-Hop game. By that, I mean their connectivity and synergy is this substantial stamp that shines through the crevices, reminding listeners what it’s like to be an emcee. Much of the Hip-Hop releases this year, with the most pop appeal, have come from more rockstar-influenced artists, while the underground sectors have been amping a bunch of Alchemist and DJ Muggs, but Blu is aiming to disrupt it. It’s prevalent with some of the bars Blu delivers, and as I write this review – like others will do – building its presence is where you’ll know Blu’s ferocity and writing is what keeps the locomotive flowing extensively.
For Real Bad Man, the beats aren’t so much homogenized, but the style isn’t something that brings out the masses like that of “Modern Jam” from Utopia by Travis Scott; on its own, it does unique things to keep the production engaging like the elevated electric guitar strings and pianos in “The Golden Rule,” the elevated horns in “Fall of Rome,” and the opening track “Bad News,” which ends in with a vocal outro from Mel Brooks’ Robin Hood: Men In Tights. As per the joke in the opening’s outro, “Maybe if you tell me the bad news in a good way, it won’t sound so bad/The bad— The bad news in a good way,” where they play on the double entendre, and the good becomes the quality getting delivered. Unfortunately, not all tracks are fluid in this sense, as “The Hurt” and “More Bad News” follow a throughline of standard Boom Bap, focusing heavily on the percussion instead of doing more with the live instrumentations. It’s a testament to their craft that does separate them from the more hardline, behind-the-board kind. Blu makes it at least listenable.
Bad News has solid depth, especially when you’re getting tracks from Blu that run short. It could cause some hesitation, though worth the trek, as here, you hear him flexing, reflecting, and remaining humbled through the narratives, bringing resounding layers that never feel short-sighted. From the religious-centric and rich writing of “All Praise Due” and “Hebrews” to the potent braggadocio intro and reflective “Aladdin,” this is just one avenue. The features on the album deliver with equal potency, matching up to the production and giving us some fantastic songs, like Cashus King, Donel Smokes & Definite on “Fall of Rome,” a tremendous posse cut, or in “The Golden Rule” where we get a surprising, and great verse from New York legend CL Smooth. They all understand the assignment while focusing on their style and never relishing to make ends meet for the synergy. It rounds out for one excellent product that will have you returning, even if one of its downsides can also be an upside.
At 23 minutes, Bad News runs swiftly, feeling like a quick breeze that ends with slight disappointment as you want to listen to more and more. Though the product isn’t so empty, the pacing and length don’t offer much for fans of Blu. The album’s length makes it a safe choice to return for a quick spin without hesitation. I’ve been returning to it frequently since its release, and I couldn’t recommend it more. It has enough depth to merit its runtime and will keep you hungry for more from the two, either together or as artists in their own paths.
The Weekly Coos 