Due to the form and content of this album there is an
interesting discussion to be had about a) what Drew is trying to do and b)
whether it is any good.
a) Drew’s latest single release has involved Radio 1 playing
Deepest Shame most days. The song tells the story of Michelle, sexually abused
as a child who turns to drugs to numb the pain and then prostitution to fund
the habit. By being played on the radio Drew is bringing the reality of generational
poverty to all sorts of kitchens and living rooms!
The lines here between music as entertainment and music as
protest are getting a little blurred. Drew said he wrote illManors as a
response to the riots of last summer, as an attempt to be a voice for those
unheard. He samples vocals from protest-punk poet John Cooper on his album (he
performed at Music for Miners in 1984 and has a strong link to socially
conscious music).
Drew makes several bold statements both to those he views as
outsiders, ‘sorry mate, these ends are in a sorry state, you can’t relate’
(Falling Down) and to his own, ‘We aint no different from them, honestly. Luck
is the only reason they weren’t born into poverty’ (Live Once). Yes, there is a
degree of advocacy of the poor to the rich going on; see Kano’s rap in ‘Live
Once’ but there is also an attempt at balance, illManors criticised both
dependency on benefits and the Government’s economic policy, and a desire to
educate – he gives a brief history of cockney and its uses in ‘Live Once’ and
to challenge kids from the estates not to become self-fulfilling prophecies. I
would argue that this authentic voice of Forest Gate is producing a voice from
the street, for the street. There is far too much swearing to make government
pay all that much attention; it is too easy to dismiss these words as those of
an angry man who is out of control.
b) Is it any good? Yes, at conveying the violence and the
struggles of the underclasses. But I would also like to suggest that Drew’s
music is well crafted. Drew is unafraid of fusing high culture with rap; during
‘I am the Narrator’ he samples St Saën’s Carnival of the Animals, behind
his rap he reclaims the high culture for everyday use. His narrative tale, Mr
Drug Dealer, borrows extensively from the epic genre, taking each verse as an
episode in Chris’ life – we follow Chris and the twists and turns almost as
they play out in front of us. I saw significant parallels in form between
Drew’s album and Perfect Strangers; both use the device of starting with a
complete scenario and working backwards to explain how this circumstance came
to be, like Drew’s lyrics, its clever. Clever literary devises of the lyricist,
good use of sound from the poet and harmony from the musician; all from one
man.
Several of my friends disagree with me that Drew’s work is
art worth appreciating. I think there are a number of things that affect people’s
appreciation of the work – language is a big one, style is another and
definition of vulgarity also makes an impact. Essentially the question is, ‘Can
a piece with violent content and explicit expression be artful, can it be
beautiful?’ This question is actually one Drew addresses himself ‘sorry mate…you can’t relate …you can’t
appreciate how this artist paints’(Falling Down). I think there is objective quality
in the art Drew creates; after all I did compare him to Shakespeare.
My encouragement to you would be listen to the record, with open ears and consider what you can learn about life, East London, and even yourself through it.
No comments:
Post a Comment