Radio Free Brooklyn - Pete Miser
Ho-Made Media
Rapper Pete Ho has been an integral part of the Portland hip-hop art scene, since his teen years when he first acquired a reputation as one of the most talented taggers in the local graffiti underground, back in the mid-80s; known, even then, as Pete Miser. Pete Miser became one of the key players in the nascent P-town hip-hop movement of the late '80s and early '90s.
Forming his first band, the 5 Fingers of Funk, Pete spent much of the '90s producing the group- which combined funky horns, guitar and bass, with more traditional hip-hop accoutrements, such as a platter slapping DJ and an MC touting Pete's prowess; with Pete's spectacular poetry and intelligent viewpoint, at the forefront of the band. The 5 Fingers became one of the foremost hip hop bands in the Northwest. They toured the country several times, and played with the likes of Maceo Parker and Run DMC
The 5 Fingers released two albums with Pete at the helm. Then, in 1996, he released his first solo album, What It Be. The three albums combined for sales of over 20,000 units. Late in the decade he decided to move to New York, "to immerse himself in hip hop culture in its birthplace."
It was not long before he was drafted by the singer Dido to serve as the DJ in her band, touring the US and four continents, while appearing on all the popular late night television variety shows. He has since produced numerous projects for an assortment of other acts, including hip-hopper 6th Sense. In addition, he has even worked with new wave act the Cure.
So, after a certainly not unproductive seven year hiatus, Pete has returned with the follow-up to that first solo album he released in 1996. What is immediately apparent is how much Pete has matured. His voice is now deeper and more authoritative.
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| "While some, unfamiliar with his work, might even detect an occasional Eminem-ish slant to some of his more fiery rhymes, it is always good to remember that Pete Miser was out in the trenches when Marshall was still living at home, drinking his mama's beer." |
His lyrics are as incisive as ever, confronting issues that have haunted him throughout his life, spoken forthrightly, yet without needless profanity, banality or puerility. While some, unfamiliar with his work, might even detect an occasional Eminem-ish slant to some of his more fiery rhymes (though without the rage), it is always good to remember that Pete was out in the trenches when Marshall was still living at home, drinking his mama's beer.
The loose theme here among the thirteen songs and six linking segments is that we're tuning into "Radio Free Brooklyn," ostensibly being transmitted from Pete's neighborhood, possibly following a nuclear attack on New York City. The styles vary from track to track. They move from straight-ahead hip hop forays to vague Beastie Boys references, some very cool space jazz interludes, and chunks of electronica- and even a beautiful contemplation upon the 9-11 tragedy He exhibits the sort of exciting talent at his craft that few of his rap predecessors or peers have ever displayed. He even includes legendary drummer Mel Brown on one track, with a quote in tribute to the late bassist Leroy Vinegar sewn in to the mix as well.
The album kicks off with "Bring It To The Masses." Over a wired up bed of loops and scratches, Pete introduces himself, inaugurating the effort with something of an autobiographical resume. "Celebration, tune into your local station/Apocalypse now from the foul mouth half-Asian."
The title-track is a wry dreamscape, which shadows the apocalypse of nuclear war, while echoing the horror of the 9-11. "I made my way, fumbling through the dark/Trippin' over debris and body parts/Can't start panicking, ran up in the tollbooth/Tried to call for help, but then I learned the cold truth/The phone was dead and so was the attendant, but her radio was on and it said New York was gone."
At which point a blaise DJ enters into the picture. "Who Nelly! Sorry about the turbulence. If you're just tuning in, you're listening to Radio Free Brooklyn. That big bump you felt was what we in the industry call a nuclear attack." The DJ goes on to cheerfully describe the destruction, arriving at the droll assertion, "Kids, I think it's safe to say that schools are closed." A harrowing picture drawn upon a musical canvas reminiscent of Sneaker Pimps' "Six Down."
"Ho-Made" confronts the issue of the prejudice he has experienced in regard to his Chinese heritage: "Never segregated but berated with racial slurs on occasion/Facin' the fact some kids don't like half-Asians" But Pete found the means to rise above. "Didn't lose the name that I was born with/adorned with disses that came with it/If it was specific to my nature I might take the ignorance to heart and start to hate the miniscule minds that tried to ridicule mine." "Fiscal Fitness" contains a rap a little reminiscent of Beck's in "Loser."
Almost a regular song, "For You" is a fairly straight-ahead declaration of love, with a little Fun Lovin' Ciminals vibe. "Toothbrush" is the other side of the lyrical coin. "Wake up days later just to find/She's gone for good but still left her shit behind and it reminds/Fuck you and your toothbrush." "Got That" is a humorous look at the American fixation with wealth and acquistion. "Money ain't freeing' me, bringin' to a state of nirvana/I'd rather be on a Dalai Lama tip skip the drama/All I need is what I got and I got plenty of that." Here the sound is something like Fresh Prince fronting another Beck-like tune.
Pete's rap on "Tell Me Why" is spitfully agile as it skips quick and sly and bounds with a syncopated rhythm over a techno bed of sounds. Very cool Very unique. And so very streetwise chic.
But it is "Might Be," that is at the true heart of this broadcast. Carefully weighing all sides of the event with great intelligence and wisdom, Pete sings of his experiences living near ground zero of the World Trade Center massacre in the days just after the incident. With a lovely choral chorus over soulful accompaniment, the song unfolds, with Pete describing the immediate local response to the disaster, before considering the deeper implications from a political and moral standpoint.
"Well I can understand the anger banging out so many hearts/'Cause it was more than just two buildings that them devils tore apart/But when we start to pointing' fingers I get queasy and sick/Knowing deep in my heart that it comes down to politics/And who died and lied electing George Jr. god?/And who supplies the arms that usually get used for the job?" A distinctly Dylanesque power invests Pete's lyric.
Mel Brown bangs home a booming drum solo to open "Central Park," getting right to the point, pounding out a groove big enough for a truck to drive down. Leroy Vinegar, chips in a pre-recorded, chopped up bass line that works just fine in conjunction with Mel big beat. Pete's rap captures the essence of a sunny day in Central Park. A simple sentiment expressed simply, in contrast to the preceding opus. "Links" explores the various connections between people and things and the bond that all living things share.
Pete Miser's long-awaited follow up to his first solo album was certainly worth waiting for. Pete Ho has accomplished an amazing feat. Within the framework of his chosen means of expression, he has created a great work. Along the way, he reveals himself to be a master rapper; one with a purpose and a point. It may be "Radio Free Brooklyn" but Pete is broadcasting loud and clear to his home town.
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