Artist: Shihan the Poet
Album: The Poet
Record label: Groove Gravy
Rating:
Reviewer: Tolu Jegede

“If you believe in the word, then just say word.” --Shihan, “The Iconoclast.”

Before flashy jewelry and expensive cars, the word was the staple of poetry. With this knowledge in mind, Shihan, renowned for his work on HBO’s Russell Simmons Presents Def Poetry, performs the word on his debut, The Poet—a stimulating fusion of hip-hop and a cappella poetry. Consisting mostly of material recorded over the past 3 years, The Poet is an uplifting album that offers an alternative to the glossy rap saturating radio today.

After inviting us to “listen with honest ears and live for yourself” on the intro, Shihan heads confidently into the next track, “Poemcee.” Backed by a simple beat and a steady bass line, Shihan expresses his love for poetry and emceeing:

“I am a poemcee/ I am my poetry/ no cash, no ass, no ice/ this is return of the word.”

Despite the warmth and confidence Shihan exudes on the track, the song is, for lack of a better term, decent, but not gripping. The album truly takes off on “Activism,” featuring Ursula Rucker. With the aid of cymbals, bass lines, and a saxophone, Ursula Rucker and Shihan encourage people to overcome their complacency in order to change social ills. Ursula Rucker’s silky voice is especially potent, as she croons, “The spotlight will not be your saving grace in these dark days.”

But just when you think the album is in danger of being overly preachy or self-conscious, Shihan unveils his most dangerous weapon: humor. On a cappella tracks, Shihan uses humor to discuss complex issues, including unrequited love on “Love Like” and “In Response”; technology run amok on “Robots”; and stereotypes on “Auction Network,” which is BY FAR the best track on the album. What makes the latter song so powerful is that Shihan assumes the attitude of an auctioneer trying to sell us a black stereotype:

“This Negro comes complete with platinum crucifix, two baby mamas, pinkie ring, tattoos, and either a bald head or dreads—you decide!”

Many poets and emcees have criticized the media for one-sided portrayals of African-Americans, but few (to my knowledge) have done so with such wit and sarcasm. I laughed hard each time I listened to the track. I can’t say enough about it.

The rest of the album consists of rap songs like “Who Could Be,” “What You Want,” “Frozen,” and “Give It to Me.” While these songs are entirely listenable in their own right, they do not pack as much as much punch as the a cappella tracks. Moreover, the aforementioned songs get a little repetitive, as they either display Shihan’s emceeing skills or condemn the materialism that plagues much of rap today. Perhaps the only exception is, “Stop the Music,” a song in which music acts as a metaphor for life.

Despite these minor missteps, Shihan has created a refreshing album. For those looking for party anthems, please look elsewhere. This is very much a thinking man (woman)’s album. Still, Shihan’s words can move even the most casual listener to say, “Word.”