New hip-hop album is of great Consequence

By Nate Adams
Collegian Editor
January 30, 2008

You’ve heard of Consequence before, you just don’t know it. Besides appearing on numerous A Tribe Called Quest mix tapes, the Queens native has appeared on two of Kanye West’s albums; “Spaceship” on The College Dropout and “Gone” on Late Registration. After years of playing second fiddle, Consequence has emerged on his promising solo effort, Don’t Quit Your Day Job.

Musical content aside, the album is a good example of a long-standing tradition in the rap world. See, when someone gets famous to the point where he or she can do whatever the hell he or she wants, it’s customary to try and get your friends in on it, too. Take, for example, Mr. Curtis “50 Cent” Jackson. After releasing a mind-blowingly successful first record, he was given the kind of money and influence that allowed for his buddies Young Buck and Lloyd Banks to make records and get some of that cash. Same thing with Nelly and the St. Lunatics, except where Banks and Buck are actually skilled, the St. Lunatics were awful.

See, that’s the dark side of this mentality; sometimes people suck and don’t deserve a record deal, yet can still latch on because of a successful friend.

While this ideal of “bring everyone with you” is both honorable and frustrating, no one is adhering to it more than West right now. West and his G.O.O.D record label are responsible for a number of these kinds of records, some successful (John Legend, anyone?) and some not so much (Rhymefest? More like yawn-fest, amiright?).

If there’s any justice in the world, Don’t Quit Your Day Job will be a success. The record opens up with “Job Song,” which features Consequence ignoring his own advice and quitting his job.

“How’d I get stuck in this dead-end job when I can rap?” he asks, before spending the next three verses telling his story of unemployment, pride swallowing and eventual success. The story has a happy ending; Banana Republic security guard by day, studio sessions by night.

“Job Song” sets a good tone for the record, and the tracks that follow maintain the momentum. Lyrically, the peak of the album comes on “The Good, The Bad, The Ugly,” where Consequence slays for 28 bars, using the title’s three labels as corners for his flow. He absolutely demolishes West, who does a guest spot on the song.

Consequence has a few missteps in the middle of the album by shifting his focus from his day-to-day life to love songs, and moving from story-telling rap, which is his strength, to romance rap. Particuarly bad are “Pretty Little Sexy Mama” and “Feel This Way,” which features Legend doing his usual neo-soul shtick. It’s a shame that this sort of pandering has become standard in the industry; it really sucks the wind from Don’t Quit Your Day Job’s sails.

The production on the record is all standard West, except for a real sharp contribution from DJ Khaled. Not that the production matters too much, the focus of the record is on Consequence and the stories he tells. Like most great rhyme-sayers, he can make the most mundane events seem interesting. Finding a job, fighting with a family member and dealing with trifling women are all brought to vivid life with Consequence’s flow, which is reminiscent of Q-Tip or early Mos Def.

Only time will tell if Consequence can emerge from West’s giant shadow and escape the hand that feeds him. For now, DQYDJ is a diamond in the rough. While not a perfect record, it establishes Consequence as an emerging rapper (even though its been almost 15 years since he appeared on Midnight Marauders); a Ghostface Killa for the backpack set. With its balance of frustration, humor, loyalty and work ethic, Don’t Quit Your Day Job could become the rallying call of anyone trying to hustle to make something better.

adamsn1@lasalle.edu