Steve 'Flash' JuonI’m not confused about who Bumpy Knuckles is. I’ve been following the career of James Campbell since the 1980’s, when the rap world knew him better as Freddie Foxxx. In the years to come he remained that reliable figure you could count on, a “rapper’s rapper” in the mold of Kool G. Rap or Gift of Gab (RIP). His delivery was as intense as M.O.P. but the thought he put into his bars could rival Nas. If underground rap has kingpins, Bumpy is that large figure in a white suit, making moves with his mental while hiding his true prowess. He intimidates mics into obedience. Who is OG Jazzo a/k/a OG Jazz-O on “Level Up” though? I haven’t the foggiest clue.
Clearly he’s the producer of record for this ten track Bumpy Knux project. Beyond that it’s a mystery. At first I thought it might be a way of misspelling or rebranding Jaz-O (The Jaz). The problem with that theory is that if it was true Discogs would have picked up on it. The only project they have on record for him though is this one with no links between the two. Google is equally unhelpful and their “artificial intelligence” is anything but, as they claim OG Jazzo is a cast member of Basketball Wives. Wrong. The one person who would actually know who this dude is is Mr. Campbell, because he hand picked him to produce these tracks, but he’s not the type of cat who explains all his business on social media. 90% of his tweets are “GoodMorningHipHop!!!!!!!!!!!!!!!” If you miss one, he’ll say it again tomorrow. He’s an “Introvert” by choice.
“You know the lyrical don, the special guest when I’m on
I pick and choose what I do, to avoid the con”
And ironically enough he calls out rappers “yapping on tracks they can’t afford/who got big chain money but don’t pay producers.” We can assume whoever OG Jazzo is, Bumpy Knux is a man of his word who paid him in full for his contributions here. As a matter of fact James Campbell would get the benefit of the doubt on that just for 35+ years of paying dues. That respect is the same reason I gave “Level Up” the time of day. He embraces the role of elder statesman on tracks like “Bars Deep” and tells his peers “stop trying to act like you young nigga [..] like it’s 1988 with your Kangol on, let it go [..] y’all niggaz is grandpas.” It’s refreshing to hear even if it’s very close to “get off my lawn” territory.
Regrettably this also leads to a truth we can’t avoid — the modern day Bumpy Knuckles doesn’t have that fiery anger he did 30, 20 or even 10 years ago. It’s only right to acknowledge he couldn’t keep up that level of intensity forever. Even Michael Jordan had to hang up his shoes eventually. Father Time is merciless and he will grind us down into the dust. The word “respect” is about to come up again but I’m not looking for a substitute — I respect Bump’s decision to act his age and not try to rant and rave. As a lyric writer his mind is as sharp as ever, but hearing his voice without that spark in it can’t help but make me wonder if OG Jazzo was the right choice. He’s competent but not exceptional. A track called “Glocks & Hoodies” should have brought out the Knuckles of old, but it’s not hype enough.
If you came to “Level Up” looking for some vintage East coast boom bap rap of the Pete Rock, Diamond D, Beatminerz or DJ Premier variety, you won’t find it here. Instead you’ll find an aging rap legend who has accepted his place in the game with grace. Even with his more methodical and less excitable and irascible flow, more could have been done to elevate the articulate intelligence of his words. “Competent” isn’t good enough when producing for a rap legend. Imagine Rakim flowing over these beats. Imagine Snoop Dogg on it. Okay I just went there so I’ma go there — “Missionary” is an example of how you do it right with an OG. This is not an embarrassing album for Knux, it’s fine, but the production just doesn’t give him any level of enthusiasm. It’s too “going through the motions” for me and I suspect it will be for you as well.