Review: Joey Bada$$ 1999

1999 was an eventful year. The Euro was established, Spongebob debuted and Exxon and Mobil merged, forming the largest company ever. In the hip-hop world, 1999 was the year that Big L died and Jay-Z and Lauryn Hill both took home Grammys. But while 1999 might seem like a distant blur, for Joey Bada$$, 1999 is the year to remember. Appropriately, 1999, his latest project, offers his personal impression of the year and the era it ended.

The impression begins with “Summer Knights” a brief, jazzy track that sets the mood for the rest of the mixtape: smooth, smoky and smashing. The mood “Summer Knights” establishes is continued on “Waves,” an equally jazzy track that showcases Bada$$’ raspy vocals and nostalgic rhymes in detail. Flowing like Brian Pumper’s waves, he lays out his game plan and lists some of his influences with confidence and ease. He’s only 17, but he raps like he’s possessed by the ghost of BIG (especially on “Funky Ho’s).

Flow-wise, Bada$$ is reminiscent of Earl in that he loves to cram bars with words in spite of the consequences (disruption of cadence, possible audience confusion). However, he differs from Mr. Early Bird in that he roots his rhymes in a certain time and place. For instance, on “Fromdatomb$” in one breath, Bada$$ raps, “Fake emcees get they raps wrong/Young villain hop up on the track and the track doomed/Click clack boom/Resurrect the boom bap from the tomb/Drags dope like crack in cocoons.” Notice the DOOM reference. Earl is a known fan of DOOM, but while Earl inherited DOOM’s flow, Bada$$ inherited his flow plus his love of 90’s era hip-hop. This DOOM influence becomes explicit on “Pennyroyal” and “World Domination,” tracks that were actually produced by the supervillain himself.

That being said, don’t think that Bada$$ is DOOM’s Stan. 1999 contains homages to a plethora of rappers and producers, especially New Yorkers. The New Yorkers that really stand out though, are Bada$$’ featured artists. Mostly members of Bada$$’ Progressive Era crew, on every appearance, these cats deliver. While “Suspect,” a track reminiscent of Odd Future’s “Oldie,” features the entire Pro Era crew, “Survival Tactics” and “Snakes” have the most memorable features. On the former, spitting xenomorphic acid, Bada$$’ colleague Chuck Strangers delivers a guest verse for the ages. On the latter, T’nah Apex, a rapper no older than 20 years old, discusses social issues like a seasoned activist. Her 1999 experiences probably weren’t very ideal.

Idealism is 1999‘s only fatal flaw. While the mixtape provides an enjoyable impression of 90’s era hip-hop, like all impressions, the mixtape forms a hazy picture. Hip-hop experienced a lot during the 90’s, but Bada$$ only pays homage to what he likes, to what he thinks is worth remembering. That’s fine, but the result is a slightly redundant sound. If Joey weren’t such a lyrically versatile artist, the mixtape would be burdened by the mellowness of the instrumentals.

In the end, though 1999’s nostalgic vibe is slightly overwhelming, the project is still vivid and fresh. Unlike Nitty Scott, MC, who seems unable to reconcile the 90’s she loves with the present she hates, Joey Bada$$ is able to enjoy both eras simultaneously. For him, the boom bap era can be preserved in his rhymes and his memory. He doesn’t need to hear the music of his childhood on the radio to validate its value. It sounds just fine when he hears it in his head[phones]. That being said, at only 17, if he continues to produce such well-conceived music, he may end up on the radio sooner than he thinks.