Digital Underground
Reviewed on this page:
Sex Packets - This Is An
E.P. Release - Sons Of The P - The Body-Hat Syndrome - future rhythm - Who Got The Gravy?
The Underground is a collective of rappers, singers and musicians
dedicated to the art of the good time - usually clever,
occasionally political, frequently offensive, they end up somewhere
between P-Funk and 2 Live Crew. (DBW)
Personnel: Shock-G AKA Humpty Hump (Greg Jacobs), keyboards, programming,
rapping, singing; Money-B (Ron Brooks), Tupac Shakur, Schmoovy-Schmoov
(Earl Cook), rapping; PeeWee, keyboards, rapping, singing;
The Piano Man, keyboards
 Sex Packets (1990)
My favorite DU song is here, the rollicking "Humpty Dance" with
hilarious vocals from Shock G's alter ego Humpty Hump, and the album concept is pretty
cool: comparing sex addiction to drug addiction, with the
science-fiction element of sex-in-a-pill. The title track, which
samples Prince's "She's Always In My
Hair," is slow and sleazy, and it works; the hilarious "Packet Man"
effectively uses a Horny Horns
sample. Also, there's terrific live piano on "The New Jazz (One)."
Elsewhere, the group's over-reliance on P-Funk samples does them in: they use
"Flashlight" on at least four different tracks, the lyrics are
frequently old-hat, and several songs go on way past the point of
diminishing returns ("Doowutchyalike"). (DBW)
 This Is An E.P. Release (1990)
This should not have been an E.P. release. Six tracks, three of which
are remixed from Packets ("Packet Man," "Arguin' On The Funk" and
"The Way We Swing") and the new material consists of silly improvised
lyrics and one sample per song ("Same Song" borrows from Parliament, "Nuttin' Nis Funky" borrows from
Miles Davis' "Back Seat Betty" and "Tie
The Knot" is based on the wedding march). If you picked this up without
hearing their other records you'd get the incorrect impression that
they're a bunch of boring sophomoric loudmouths - spare yourself.
(DBW)
Sons Of The P (1991)
Indeed. On this release the Underground moves away from samples,
using original music but capturing the P-Funk feel (George Clinton appears on the title track).
Once again, the lyrics are hit and miss: "No Nose Job" is a witty
jab at black assimilationists, and "Heartbeat Props" has a
heartfelt message of solidarity, but "Good Thing We're Rappin'" is
an overlong dirty-talk rant. (DBW)
 The Body-Hat Syndrome (1993)
The comic book that comes with the CD explains how the Underground
is so busy getting laid and working on side projects that it's
almost impossible for them to get any DU work done. Unfortunately,
it shows: most of the tracks seem thrown together, with
uninteresting lyrics ("Do Ya Like It Dirty?," "Bran New Swetta")
and more P-Funk samples than you could possibly want
("Hollywanstaho"). The lyrics are unrelentingly focused on sex,
this time without a hint of irony, and will probably be of interest
only to teenage boys ("Jerkit Circus"). Even Humpty Hump's feature
and the leadoff single, "The Return Of The Crazy One" doesn't have
the wit or originality of their earlier work. The one excellent
track is "Wussup Wit The Luv," a slow, moving political jam with vocals
by Tupac Shakur and real live Funkadelic Mike Hampton on lead guitar.
(DBW)
 future rhythm (1996)
Despite the violent and pornographic cover art, this is a pretty good
record, far more enjoyable than their previous offering. "Fool Get A
Clue" is a high point, full of hilarious political putdowns and
featuring the Black Spooks, and "We Got More" and "Oregano Flow" are fun
if lightheaded party music. Musically they're treading water, with
the same laid-back drumming, P-Funk samples and live piano they've been
using for years. If you liked the earlier DU releases you'll want to
have this one, but they're not going to win over many new fans with it.
(DBW)
Who Got The Gravy? (1998)
Quite entertaining within their usual limits: there's more live music
than the Underground has used on any album since Sons Of The P,
including several sly, confident funk grooves ("Holla Holiday," The
Gravy" featuring Truck Turner), though P-Funk remakes still persist
("Wind Me Up"). "Mans Girl" is probably their best ballad ever, and it
opens with a hilarious interlude ("Peanut Hakeem"). The humor mostly
works throughout, without as many sexist excesses as most of their
catalog, and Biz Markie's guest shot opposite Humpty-Hump is a standout
("The Odd Couple"). There are some problems: "Blind Mice" is a political
rant that just doesn't connect, partly because it's so focused on the
Rodney King beating it sounds like a warmed-over 1992 outtake. KRS-One's
appearances aren't too interesting ("I Shall Return"), several of the
backing tracks are ordinary ("The Mission"), and as usual many of the
tunes are too long. But overall this may be their most consistent effort
to date. (DBW)
The Lost Files (1999)
Talkin' Dirty (Money B: 2002)
Features Shock G and other guests.
(DBW)
Fear Of A Mixed Planet (Shock G: 2004)
Readwutchyalike.
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