Ever the social commentator, comedian Chris Rock once quipped
that the world is coming to an end because the best golfer is black
and the best rapper is white.
All joking aside, Eminem might not even be the greatest of white
hopes. Some bloke by the name of Mike Skinner has been making major
noise lately from across the pond.
Skinner is a man of the streets as well as the man behind The
Streets. An individual hip-hop endeavor, The Streets is not about
the ghetto, but about the working class in Skinner’s hometown
of Birmingham, England. His debut record, “Original Pirate
Material,” has critics heaping praise. Fans can judge for
themselves as the British emcee takes his rap-heavy garage sound to
the Troubadour tonight.
“I never really thought that anyone would be interested
outside the U.K.,” Skinner said. “I’m only doing
a few shows in America so I haven’t gotten a lot of
feedback.”
If the 22-year-old wunderkind were to believe everything he
reads, he might have to check his ego from time to time.
“Original Pirate Material” has already been given the
standard “among the best albums of the year” treatment
by the British music press/hype machine. However, amid the sudden
fame and attention, Skinner tries to remain levelheaded.
“Just try not to take too much notice of it,”
Skinner said. “That’s the only way you can deal with
it. I carry on doing the same thing. Don’t believe the
hype.”
Part of the reason for all the hype is Skinner’s ability
to infuse U.K. garage with hip-hop elements. Skinner’s
laid-back style deviates from the normal pump-up-the-volume
cheerleading practiced by most emcees in the garage scene. While
club emcees construct weekend dreamlands with their lyrics, Skinner
raps about weekday experiences.
“I think I made it more real,” Skinner said.
“I talk more about real English stuff rather than relying on
fantasy.”
Though he intended to make a record that deals strictly with the
street culture of England, Skinner eventually discovered its appeal
to the masses as well as potential for overseas success.
“I think it’s quite universal,” Skinner said.
“I didn’t realize it at the time, but the stuff that
happens on the record happens to a lot of people.”
The unexpected universal appeal of Skinner’s music bears a
striking resemblance to early hip-hop’s success despite its
supposed lack of worldwide influence. Skinner’s music might
inspire a future artist in the same way his brother’s Beastie
Boys and De La Soul records motivated him to be a hip-hopper since
age 7.
“(Hip hop) was just the most interesting thing at the
time,” Skinner said.
The raps Skinner performs are bloody interesting as well. To be
fair, he is more of a fast talker than a rapper. He rhymes but
hardly flows. Unlike American rappers, he delivers his lyrics with
a relatively even tone that cruises along independently from the
backing garage beats. The aggressiveness and dark imagery are side
by side with snide and witty remarks.
“I think certain tracks I’ve done are darker than a
lot of American rap songs,” Skinner said. “I think
“˜Stay Positive’ is really dark in terms of its honesty.
A lot of American rap is like cowboys and Indians ““ trying to
show off in a sense.”
Even though American hip-hop fans might regard the idea of a
British emcee as a novelty act, Skinner is hardly fretting over
perceptions.
“I’m not really doing this to be accepted by black
America or anyone else,” Skinner said. “I’m doing
it to be accepted by people from where I came up.”
Big-ups to Birmingham.