Grant Jones“Lucky for you, I don’t beat my kids” – Roc Marciano on “Bebe’s Kids”
A lot of rappers have been students in the field of “Marciology”, since the influential rapper reinvented himself in 2010 with the album “Marcberg”, a stark yet modern depiction of New York rap, which had lost much of its identity during the decade prior. A lot has happened since his debut LP, but he has been careful not to over indulge listeners in this flooded field of imitators. I’d usually spend some time here providing context and a little background to the album in question, but if you’ve not been listening to Roc Marciano, or at the least, are aware of his output, then I’m afraid you can hand your Hip-Hop head badge in check out our previous reviews.
With the year coming to a close already, it’s a shame we didn’t cover this nearer the time of release (all the way back in March). Now’s as good a chance as any to mop up these heavy hitters, and a Roc Marciano album is usually a contender for any Year End List. “Marciology”, Roc’s tenth studio album, has had me conflicted for the past six months as I wrestle with where it sits in his pantheon of lavishly presented and opulently rhymed releases. The overarching sense I feel from it is that it’s the first time he’s openly admitted he has created a monster. He’s aware of the knock-offs and mimicry that’s rife in underground rap, and while he does spend sufficient time deriding challengers to his throne, he also welcomes them in on a few tracks for a sparring session or two.
Like any successful artist, he’s willing to take risks, and he’s doing it more than I’d expect this far into his career. He’s singing on “Gold Crossbow” for a start, an irresistible set of drums that slap you round the face, with a lovely piece of piano that gives it an underlying sense of horror. In fact, the whole album possesses spikier edges that some of his previous albums had shaved down. “Goyard” wails away with guitars and the far right of the piano, but it’s the manner that Roc conducts his verses that separate this from your average rapper peddling their latest luxury:
“Answered the call, declared war
I swore I saw blood on the dance floor (I seen it)
Contact the janitor when the shells from the hammer fall
Land on the floor by the handful
It’s cool, the flannels made of lamb’s wool
Took my chances dancing with wolves
Now the Lamborghini Urus is tangible
The steering wheel ain’t never felt hands this smooth (never)
It’s crazy I don’t even get manicures (woo)
I told shorty, she stole jewellery for me
This (is) authority (sit yourself down, yeah)
You can’t be airing out family laundry, that shit corny (shit corny)
The naked city came with eight million stories
Baby girl eyeballs got watery (cryin’)
Lord, give me the strength not to abuse my authority
How long is the tallest tree?
Got a quarter in the Goyard toiletry”
He then boasts about “shitting on everything” while making fart noises, and that’s something I don’t think he gets credit for – blending goofy, almost childish imagery with the coolest, most lavish scene-setting this side of Raekwon. The craftsmanship is evident, and it’s what lends his work extra personality, and additional replay value. “Tapeworm” is another track that’s slickly performed, and combines classy instrumentation with nonchalant pimp talk. The best of the bunch might actually be the sinister collaboration with T.F and the permanently angry Flee Lord, “Higher Self”.
It’s got that perfect blend of 70s horror flick and mob movie soundtrack, which the artwork certainly references too. There’s a few songs that fall short of Roc’s standards, and it’s mostly down to strange decision-making. “True Love” is a struggle, as the vocal sample completely interferes with the rapping. There’s a reason why the Diplomats did stop-start verses when utilising samples that include prominent singing in them. “Bebe’s Kids” is disjointed too, while Roc’s vocals get drowned out on the song “Killin’ Spree”. The end of the LP is redeemed by the hard-hitting “Floxxx” and the lyrical showcase that is “On the Run” with Jay Worthy:
“Uh, strolling chopper in the F1, work the rev and run
I pray there’s a heaven for thugs and they let us up
Iceberg sweaters when you let us/lettuce up
Everything the big homie said register
But we still lift the register
Case in point, before we take a coin, first case to joint
Catch him up early with a cup of taste, it’s choice
Duct tape his face, he ain’t make noise
Can’t make the neighbors annoyed
If so, I’m takin’ all 40 gangster points, playboy
Try the ostrich slides, I was ostracized
Hiding from the five and the blockers, but I’m not cockeyed
Cops spied, we robbers in disguise
My face live on Fox 5“
“Marciology” has some great Roc Marciano songs on it, but I came to the conclusion that it frustrated me a few times too many. The lightheartedness is certainly welcome, and he sounds like he’s having more fun than usual, but for an emcee with such a high standard, I don’t think it reaches the level of “The Elephant Bones” or “Reloaded“, and that’s perfectly fine. The real success story here is that Roc Marciano’s tenth album doesn’t sound stale, which is an element of his career that he continues to manage and navigate as effortlessly as his raps portray him.