Before we begin, I should disclose something to y’all right off the bat. I’ve only seen two or three episodes of MTV’s Making the Band program. I generally detest reality shows and the MtB cast of characters seem to delight in blurring the line between real people and stereotyped caricatures. Plus, the twisted pleasure that P. Diddy gets in abusing these kids is pretty grotesque.
But, what the hell do I know? The show is a runaway success that has already spawned not one, but two sequels. And the group’s debut album moved over 200,000 units in its first week on the shelves. I’m still tryin’ to identify who’s who on this joint, but I think I’ve got it down:
Babs…the female rapper.
Dylan…the dance-hall guy.
Young City…the cat with the down south flavor.
Fred…the gravelly-voiced brutha.
Sara…the singin’-ass girl.
Ness…uh, the last guy.
Executive Producer Diddy starts out with an odd choice for an opening track. My Life drags along at about half-speed with Young City lifting liberally from Biggie’s 10 Crack Commandments anthem. Babs’ first appearance on the mic is more promising, however, as she sounds a little bit like a grittier n’ more credible Lil’ Kim.
My choice for the opener would’ve been Do You Know. Wyclef Jean gets credited with a guest spot, but he just serves up an unspectacular (and ridiculously sample-heavy) beat with a few words here n’ there. Still, the track is the introduction that unfamiliar listeners should be hearing at the beginning as we finally get to hear everyone together. Despite some reviews to the contrary, Da Band has no problem doling out the mic time to everyone and shows a surprising amount of chemistry. Although, it’s clear that Ness won’t have much of a future if he makes continued references to “Oodles of Noodles”.
For my money, Babs is the member who makes the biggest breakthrough. She’s a natural on the mic and assuming she’s writing her own material, she could fill the gangsta girl role that everyone from Lady of Rage to Yo-Yo tried and failed at. She’s matched with a crazy beat on Hold Me Down and is wisely paired with Dylan, who serves as a buffer for her breakneck flow. Babs also shines on Living Legends which includes a mix of drums and island keys and is Exhibit ‘A’ in that “Whole is greater than the sum of its parts” theory.
Dylan and Sara don’t get a lotta solo time on the mic. They’re mostly there for hooks and bridges and the two do a decent enough job. What We Gonna Do is where Sara is used best. She’s workin’ a give-and-take with each Band member as he or she spits a few bars. When she’s asked to carry a bigger load, like on Go Steady, she’s compromised by her inherent lack of vocal range and a unwise inclusion of a profane third verse (not by her).
Young City has some potential, as well, but I’m not sure the group setting is best for him. They Know sounds like something out of Mannie Fresh’s cookie-cutter catalog right down to the “drum machine = gun shots” concept. City manages to rise above it, though. He gets a chance to flex his solo muscles on Choppa City, which could’ve fit in on a Hot Boyz release, save for the better beat.
Fred?needs a better gimmick. The sandpaper voice is fine when there are other MCs on the track with him. That way, he can spit for a minute or so and someone else takes over. His work on Stick Up, the album’s worst track, is proof that he needs more than one cat whose skills he can hide behind. But, that still makes him better than Ness, who is showin’ us that even rap groups have a need for a token Black guy.
