By Brian Turk
By Drew AIles
By Taylor Boylston
By Bree Davies
By Emerald O'Brien
By Gina Tron
By Jon Solomon
"I didn't really appreciate that article, because they don't really know what they are talking about. It was a speedy recovery, but, you know, it's like, 'Damn, how long have we been doing this stuff, just trying to put our records out, and it takes us to crash the bus for y'all to talk about us?' And then to tell everybody we ain't going to do a tour this year because of our crash -- and we're out here on the road when the fucking magazine comes out."
West Coast artists having beefs with the East Coast-leaning Source is nothing new -- remember Ice Cube's rant about the mag's lack of respect for L.A. artists a few years back? -- but 2Na makes a point: The J5 deserve more than mere blurbs from major publications, especially if they're printed only when something goes wrong. The Jurassic 5 have a sizable, growing following. In June, Quality Control hit number one both on the College Music Journal charts and in The Gavin Report, the two main methods employed by the record industry to track college radio. During the past year, the group has blazed shows in America and overseas, extending its reach beyond urban capitals with traditionally large rap audiences. The J5's performances in Colorado this week are sold out (as were its gigs here last year), which means hordes of hip-hop fans will cram into the Fox Theatre in Boulder, not exactly an urban metropolis. Even MTV, a network that continually appears dedicated to pandering to the lowest common denominator of any musical genre, had the J5 battling it out with another L.A. underground act, Dilated Peoples, on a recent episode of Direct Effect (DFX). The show, hosted by Tek from the Real World cast in Hawaii, allows the viewers to choose online which video to air.
Jurassic 5 and Dilated Peoples. In-store appearance and autograph signing
1 p.m., Sunday, October 29
Twist & Shout, 300 East Alameda Avenue
Quality Control was three years in coming -- light years in hip-hop time -- and finds the band further refining its trademark amalgam of four MCs and two DJs. The album is a welcome alternative to the steady stream of fast-food rap that threatens the health of the hip-hop nation. Spewing fly B-boy boasts and introspective social commentary, the MCs flow effortlessly between the skillfully concocted Nu-Mark/Cut Chemist beats. The J5 could be hip-hop's equivalent to the Magic Johnson-era Los Angeles Lakers (whom they reference on "The Game"): confident, capable, strutting down the court, taunting the opposition with their skills.
"We were just getting our business right, making some cool songs that were quality songs. It took us a minute to get everything right and solidify the deal with Interscope. We were also in the learning process about this business and what to do," says 2Na when asked about the gap between recordings. You can't blame the guys for getting their business tight, because unfortunately, the hip-hop road is littered with far too many artists who haven't gotten paid as a result of shady business deals.
According the 2Na, the deal with Interscope was worth waiting for. The contract allows the group to maintain full creative control and provides the kind of financial support that simply doesn't exist for most indie artists. "[The deal] just gave us money and a little leeway to do more of the things that we wanted to do, as far as touring and getting the record distributed to more places than we could have done ourselves on the independent label," he says.
There is a collective vibe emanating from the crew that differs from more inwardly directed rap artists; Quality Control resounds with a reverence for artists of the past and the good ol' Sesame Street notion of co-op-e-ration. It's a feeling that's well captured in the lyrics to "Improvise," which finds all four MCs rapping in unison (something they do fairly often): "And together, we'll show you how to improvise/Reminiscent of the Wild Style '75/'Cause it's the brothers on the mike occupying the drums/Taking four MCs and make them sound like one."