Little Boy Done Grown Up, Little Voice Done Blown Up

Last week I began my endeavor to report on the young Chicago Hip Hop scene that has every music blogger salivating. I apologize for thinking that I could undertake this effort with only one post about Chance The Rapper (the group’s forerunner) and so I reviewed his latest production Acid Rap thinking that would be enough. But, I’d be remiss if I didn’t also shed light onto Chance’s first ever collection of tracks: 10 Day, which he birthed during a ten day suspension from high school. As these fourteen tracks are more creative, musical and substantive than most contemporary mainstream professional rappers’ albums, I’m going to repeat that Chance made it on a suspension from High School. As in he was barely the legal age to vote. As in barely an adult. As in the same age when my biggest accomplishment to date was getting runner-up in a state Mock Trial competition.

10 Day is more musical than Acid Rap— more influenced by jazz trumpets and keyboard melodies– and channels “A Tribe Called Quest” vibe more so than the College Dropout-esque sound of Chance’s more recent releases. Granted, there are obvious signs that this is an artists’ debut work; there are plenty of awkward lyrics, ill-timed flows and amateur features. That happens the first time anyone makes music. However, we must set 10 Day apart from most other mixtapes for a number of reasons, beginning with its production. I am so enchanted by Chance’s music, and his cohort of Save Money members, because they are all such talented musicians. It is so overwhelmingly clear that his production artists (including Chuck Inglish, Cam and the Blended Babies) are all trained and educated musicians. Kids These Days– the first combination of young Chi-town musical geniuses that led to much of the solo work today– matched live jazz and soul instrumentation with Vic Mensa and Chance’s raps, and created a sound dependent on musical composition. Not to say that mainstream Hip Hop producers are not musically educated, but it makes a clear difference that the sound Chance, Vic and co. create is indicative of a dedication to and reverence for a certain style of music. Thus, almost every single one of Chance’s songs is unbelievably aesthetically pleasing. There are no abrasive beats, harsh voice-over bombs or overly artificial instrumentals. In 10 Day, Chance also includes samples from Dead Prez and Notorious BIG, (intimidating acts to borrow from) but does so effortlessly and simply. The effect is a mixtape that establishes Chance’s expertise in production and pretty raps.

Amazingly, he does not disappoint lyrically either. To create such complex and imaginative lyrics at such a young age is no small feat, and further proves that this is an artist with some training. While he treats a few of these tracks as a (sometimes jokingly) middle finger to the school that suspended him, he also makes a number of perceptive and astute comments about his school’s disciplinary measures and his neighborhood. Furthermore, he interweaves a steady stream of social commentary, primarily about issues facing him and his peers, throughout the tracks. To do this, he displays his impressive ability to alternate between singing and rapping; for instance, on the track “Missing You” (which samples Dead Prez’s famous “Hip Hop”) Chance begins with a continuous verse rapped in a low, soft and aggressive voice I’ve only heard on this track. He goes in and only stops for quick breaths, with lines like “But these young gunners ain’t nothing but young stunners” and ends the verse with a captivating four lines,

“Brown boys are dying and none of ‘em were for business

And all of ‘em love they mommas and all of they mommas miss ‘em

And this shit is stupid this shit is fucking senseless

The news shouldn’t support it this shit is getting expensive.”

Chance wrote this song to cope with the loss of his friend who was killed in Chicago. What a high level of thinking for a teenager coping with the enormous problems and challenges of youth violence; he is able to look introspectively at the situation in a rational and mature way, and express his thoughts through artwork. In my opinion, that is beyond impressive. To top it all off, as soon as he pulls out of this intense rap, he transitions straight into singing his own bridge. Not too many artists (let alone 18 year olds) can do that.

To be sure, 10 Day is no Acid Rap. It is not on the same level of cohesion, featuring artists and lyrical mastery. It is however, a powerful and impactful collection of songs that is essential in understanding Chance’s background and musical origins. It is as enjoyable to listen to, and is an inspiring indication of where Chance will go in the future.

Chance\’s Hey Ma