DJ Quik - The Book Of David

Anyone who listens to even a little rap will know there are beatmakers and there are musicians. One could argue DJ Premier or Pete Rock as the master beatsmiths - years spent digging the crates and transforming masterfully chopped samples into neck-snapping hip hop. Then there are the musicians - those artists that possess the musical skill to create complex compositions with live instrumentation. They understand structure, cadence, composition, measure - advanced musical principles. And among those maybe DJ Quik stands the tallest.

The first thing anyone would say to that argument would probably involve that other superproducer from Compton, Dr Dre. It could also be argued that Quik is, as he stated in his second album, the genre’s most complete artist. Whilst Dre conducts sessions, Quik composes, arranges and plays many of his own instruments. Hell, he’s even a better rapper. And that brings us to The Book of David.

So, does Quik’s eighth studio album simply add another notch to an already stellar 20-year career punctuated by personal highs and lows and some of the best damn music ever produced in the field of rap? Or does it presage the Quik’s passage into musical obscurity as it has done to so many other long-suffering and underrated artists. Well, I’m happy to report that, in my humble opinion, it’s the former.

Firstly, The Book of David is a solid slice of music. It’s easy to say that Quik has been producing some of the funkiest hip hop around for many years. Who can forget tracks like Way 2 Fonky, 8 Ball, Jus Lyke Compton, Diggin U Out, So Many Wayz and the list goes on and on. So it’s both refreshing and reassuring in this day and age to hear Quik release an album full of tracks that just drip with his signature rolling basslines, experimental drums and P-funk styled guitars.

But does it sound relevant in 2011? I believe it does. Quik has already shown he can produce hits in the current musical climate - look at the BlaQKout or Fixxers albums. But after the soul-searching of Under Tha Influence and Trauma, Quik returns to his original sounds - they’ve just evolved into something superior.

And that’s the difference on this album. The tracks themselves don’t really speak to anything we haven’t heard already from Quik. There’s his musical prowess, his beefs, scandalous women etc. What shines here is Quik’s work on the mixing board. He’s a producer in the truest sense of the word. The only sound in rap that really comes close is Dre’s.

The balance of sound in The Book of David really needs to be appreciated. The basses are at just the right pitch, the snare sounds snap at exactly the right level, lush keys sit in the track just so, the vocals are mixed to perfection. Each track is constructed without repetition, unexpected sounds pop out of the speakers, chords and arrangements and melodies abound. And all the while it’s that Quik sound. There’s even the odd talkbox.

It’s not a perfect album. Quik’s a capable rapper, and as far as top producers that rap go, he’s up there. He really only has Dre, Pete Rock, Kanye and Erick Sermon as competition. Maybe Havoc or Dilla and a few others as equals. Point being, if there’s a down point to a DJ Quik album, it’s lyrical content. The Book of David is no different. However, all is forgiven with the production.

In terms of an album breakdown, here’s how I see it.

The albums opens strongly as most Quik albums do, this time with an off-kilter drum track that slams around the underlying vocals and keyboards. Quik proclaims his authority; ‘N-s got nerve / well, I’m your novocane’.

Quik then bounces straight into Do Today, a straight party track complete with Jon B crooning, a BlaKKazz verse, swirling boards and a classic west coast slap-clap. Following this Quik goes with venom at various family and friends (including his estranged sister). Hell, if it makes him feel better to get that off his chest, I’m happy to listen to the production.

The single Luv Of My Life is a track that pretty much represents the LA sound. The clap, the warm keys, the cowbell, the distorted bassline. Executed very nicely by Quik but isn’t necessarily his own sound. Still, you gotta love rolling to it on a sunny summer day.

Babylon is maybe a weak point on the album. The Bizzy Bone opening is just plain annoying, but the full buzzy key bed makes it listenable. Eventually we get past the chorus and all is good again.

The signature Quik 80s sound is again in full effect on Killer Dope. The lyrics are nothing to write home about (‘I bet Eazy-E is turning over in his grave / to see that some of y’all that make gangsta rap gay’ ...hmm) but the punchy piano and almost-cheesy horns make it work.

Jon B again turns up in Real Women, one of those Quik tracks speaking to the ladies. All good when the drums sound this cracking. And the rolling keyboards are kind of cute.

Poppin features a sparse backwards drum track that showcases his minimalist leanings and in doing so, sounds the most contemporary track on the album. Ironically, he calls out anyone comparing him to Dre (Freeze / stop comparing me to Dre / before I come through with the scope on the K) on a track that has more in common with a Dre composition than anything else on the album.

Hydromatic drops a healthy dose piano and horn stabs over a Bootsy-sounding vocal loop. Gift brings a nice lyrical lift to the track. But it’s the negative spaces in the instrumentation that really make this one a winner.

Across The Map uses large key and bass harmonies to create a track for Bun B to shine on. A little too Dirty South for my taste however, and a not really a pick for this album.

Nobody however, sees Suga Free return to feature on a Quik track and the result is joy. Possibly the rapper best suited to grace a Quik joint, Suga Free does what he does best and talks up a pimp storm over a track laced with all kinds of funk goodness. Pure gold.

The Don Mega himself makes an appearance on the Boogie Till You Conk Out. An unlikely alliance really, but it works considering there’s over 40 years’ worth of experience there. A guitar that sounds like a steel drum, a bouncy kick and keys that hover and twist like Hendrix is playing lay the foundation for Cube and Quik to tell us they are geniuses. Can’t argue with that, really.

Following that is my fave track in the album, Flow For Sale featuring Kurupt. A classic Quik bassline sits under guitars and bells that simply bounce along. The west coast never sounded so, well, classic in 2011. Like Kurupt growls; ‘I’m sayin’ / pure west coast, each note / Quik, Snoop, Cube, Dre, Dub, Rupt, west coast’. Indeed.

Next Quik continues the funk set with So Compton. This could have been made in 1991, 2001 or 2011, but as it stands it sits comfortably in this album. BlaKKass KK submits some capable lyrics over a rhythmic guitar and synth track.

The Dwele-assisted Time Stands Still is the obligatory R’n’B effort aimed at the ladies. All good, I can’t be mad, but it ain’t my cuppa. Another Dollaz And Sense wouldn’t go astray here in it’s place.

Finally The End serves up a slab of that Parliament-like funk. And it is solid funk. It evolves into a last-word type track from Quik, complete with slow-rock guitars and synthed pads. But here is the kicker; five minutes of silence followed by - you guessed it - a Quik’s Groove. How could it be a back-in-the-day album without one of these luscious servings of slowed down funkiness? Awesome.

So maybe as a long, long-time fan of Quik I’m biased, but The Book of David is everything I wanted from Quik in 2011, but was too afraid to ask for - his evolved funk sprinkled with some future flavours.

4.5 out of 5. Get this album not just to hear masterful musical composition, but to enjoy Quik doing what he does best.

S-killz (Esseven) 19.04.11