HOMEBOY SANDMAN “RICH”

Homeboy Sandman, an emcee from Queens, New York, initially caught my attention in 2011 when he opened for CunninLynguists in Washington, D.C. as part of the group’s Oneirology tour. Since then, he has released a number of albums on numerous indie hip-hop labels, including Rhymesayers and Stones Throw. Mono En Stereo is responsible for all aspects of his most recent release, “Rich.” His technique is to blend intricate rhymes with almost effortless ease, which he attempts on “Rich.” The production is as varied as the lyrical subjects, yet occasionally the way those subjects are presented can be annoying. The listening experience wasn’t too horrible, though, since it was limited to eleven tunes.

With a production that consists of gospel crooning and marching band snares, Sand begins with “Fine” and uses the remaining time to rap sixteen bars and make an effort at singing before the timer goes off less than two minutes later. He uses a very monotone flow in the song “Bop” that might have used a hook, whether it was rapped or a DJ adding vocal samples. When we reach “Therapy,” which is too short to be an album single but fills that position nonetheless, the mood shifts. Within 90 seconds, Sand lets go like a client on Sigmund Freud’s couch as he discusses the status of hip-hop today.

On “Biology,” a Mono production, Sand uses a number of biological concepts as wordplay and extended metaphors, giving the production a slowed-down and chilled-out party feel. For instance, “Seasoned public speaker / Know vas deferens from urethra / Eureka & nipples from areola / that’s why I’m the apple in eye of every rap promoter.” The song “Then We Broke Up” has a Blaxploitation-style music and somewhat tongue-in-cheek lyrics about Sand breaking up with a female from what seemed to be a fun relationship. The second song, “Off the Rip,” has a “Ozzie and Harriet”-like orchestral background and is a corny reflection on living a happy life.

Although phrases like “Attention while I check under the hood / True expression is more important than being understood” include thought-provoking parts, Sand’s “Nevermind” production relies on a loop to keep things interesting without any further changes. On “Loner,” the same technique is used, but a looped guitar sample is used to offer musical context as Sand explains his habits to a lost love. The most exciting aspect of the production thus far in the album is the woodwind sample-driven song “Crazy,” which also has snares and hi-hats. Sand addresses in his lyrics people who thought him crazy for defying expectations.

The album’s final two songs are “He Didn’t Do Anything” and “Who Are You?,” with the former featuring a jazz sample and a bass line and piano theme that are looped. On the latter, Sand sings a phrase that has been cut up over the jazz production. The definition of “rich” is “plentiful and abundant.” Homeboy Sandman’s album of the same name falls short of it, though, given the notable dearth that becomes clear by the end.