In March of 1992, two snotty dreads who called themselves Das EFX blasted into the mainstream with their debut single, "They Want EFX". That song, along with its accompanying album, Dead Serious, introduced the world to a new style of rhyming that the duo dubbed "sewage" and landed the duo alongside the likes of Naughty By Nature and Onyx to build the foundation for the East Coast Renaissance, a period of time where New York could do no wrong in the eyes of music critics.
Amidst all the hoopla, Das EFX stood with their chests held high, side-by-side with their Hit Squad brethren EPMD, Redman & K-Solo. They were paid to cameo on Ice Cube's "Check Yourself", which only furthered their rise and cemented their “sewage” gimmick as one of the most original ideas in hip hop. Even though it was a fucking stupid name for a gimmick, it was one that would define Krazy Drayz and Skoob's entire career. Just not in the way they had hoped.
Everyone and their fucking dog started adding “-iggedy” to their rhymes, from Jay-Z to fucking Kris Kross (who had their rhymes written by Treach, of all people, even though producer Jermaine Dupri stole all the credit. I mean, talk about a scratch to the fucking belt), which resulted in the gimmick getting very old very fast. Unlike what some people may have believed, the first people who noticed this were Das EFX themselves. So, rather than stick with what worked for them in the past, they opted to reinvent themselves in order to remain on top of the game. So, they decided to throw their "sewage" style away for a short time, while the dust settled.
Which turned out to be the worst fucking business move they could've done at the time, as their second album, Straight Up Sewaside, sold absolutely zero copies (shouldn't it be called Straight Down Sewaside?). To top it all off, the infamous EPMD breakup further soured matters for Drayz and Skoob. Das EFX's commercial career never recovered from that one-two combo.
But what about the album itself? It was crafted by the very same people as their popular debut: the returning production team Solid Scheme handled all but two tracks on the album, which were left for Das EFX themselves and Charlie Marotta, a Long Island engineering OG who taught Parish Smith how to produce, sided with him after his ugly breakup with Erick Sermon and whom I will always respect for his work on that shelved Knuckleheadz album.
Straight Up Sewaside, boy/girl (pick one):
INTRO
Just as the title proclaims. Skip!
UNDERGROUND RAPPA
The first thing you'll notice about this song is that the "sewage" style, imitated by countless upstarts (please refer to the paragraphs above), is long gone. The rhymes are extremely clear now that they stopped flipping their tongues, and from the very first verse, Skoob demonstrates very clearly why he's the better punchline rapper of the two. Solid Scheme continue their amazing run from the first album by producing an absolute gem of a beat. Believe me, this will cause your expensive sound system to rattle the environment exactly the way you want it to.
GIMME DAT MICROPHONE
Marotta's lone contribution. The track continues Das EFX's weird obsession with Erick Sermon, sampling the iconic EPMD hit "So What Cha Sayin'." This tracks appears to have finally woken Drayz the fuck up, since he catches up to his partner this time round, and they proceed to demolish the track together. The wonder of friendship. The Pepsi reference was pretty dope, too. Putting it short, this shit was nice!
CHECK IT OUT
The spiritual sequel to "Mic Checka" from Dead Serious. The hook, once again, will be all you remember from this song. Lyrically, the duo carries the track, but without any truly memorable lines. Drazy's delivery is inspired, though. It's as though he ate some pretty banging rats down at those sewers they keep mentioning. The beat is the standard that Solid Scheme set for themselves, which pretty goddamn nice. Fuck it, I like this song.
INTERLUDE
...
FREAKIT
The lead single. This time around, this choice was a smart one, as the first single from most albums is typically chosen based on what represents your act the most, and if any one song encapsulated what this album sounded like, it's “Freakit”. Curiously, I found the beat sounding like "Klap Ya Handz" from their first album. Maybe they had a special connection during that time. Maybe they hold a special place in their heart for the producer of the first song. Maybe I'm drowsy as fuck at the time of this writing. Skoob sounds like he wasn't really trying on this song, so his partner gets the better of him in the punchline department.
RAPPAZ
Huh! And here I was thinking the "sewage" style was to make no resurgence whatsoever on this album. Das EFX immediately sound more comfortable by resorting back to their gimmick. The difference is, there is no “-iggedy” suffix to speak of. I'm left thinking, "Why in the fuck didn't they rhyme like this on their debut?" As, admittedly, the “-iggedy” suffix made them sound a little preschool-ish. Anyway, the beat is fucking awesome yet again, with another Solid Scheme slam dunk that samples Biz Markie.
INTERVIEW
Thankfully the last skit on the album. They talk about the “sewage” style and why they're not using it anymore, setting up the next track.
BAKNAFFEK
I definitely agree with Max on the issue of the intentional misspelling of song titles. This second single seemingly rubs salt in the wounds of people who loved their popular “sewage” gimmick by using it only in the first bar, then continuing to gallop ahead with the track. Krazy Drayz later mentions in the song that since so many people bit the gimmick, then they can have it while he moves on to greener pastures. The beat is the spiritual sequel to "They Want EFX", with the weird yodeling and an Erick Sermon sample to boot.
KAUGHT IN DA AK
The fellow miserable soul who read my review of the first album might recall that I added a b-side to track down by the name of "Hard Like A Criminal." You might also recall that I proclaimed it head and shoulders above anything they did on Dead Serious and that it was a damn shame that it wasn't included on said debut. Well, my dear friend, I'm very pleased to tell you that the two snots have learned their lesson and present to you its sequel, which was also the third single. And I'm also very pleased to tell you it's even better than its predecessor. The beat starts with a menacing bass line. Then, as the kicks and snares reveal themselves, Books In Reverse beckons Solid Scheme to "bring it in one time." Then, the beat in all its glory is finally revealed, with a fucking ingenious hook that samples Ad-Rock's famous proclamation from the Beastie Boys' classic joint "Paul Revere". This is the best beat on the album thus far. This is the lone storytelling rap on the entire record, but believe me, it'll fill your appetite, as the tale depicts Skoob as a higher-level street thug "doin' it big" and Drayz as a frustrated former criminal desperate for some of the loot. The former recruits the latter, who worked with him in the past, to kill an underling that stole from him. As they prepare for the hit, they come across some cops. And that's where the story is left open-ended. Brilliant! It's almost as if the duo wants you to focus on the circumstances surrounding this life rather than the narrative itself. I felt this very strongly after Drayz's verses as he, just as in the prequel, out-fucking-shines his partner. Hands down, the best song on the album and my favorite Das EFX song. Ever!
WONTU
I can't imagine anything that can follow up the previous track, but this song isn't really that much of a letdown. By now you'll be used to how Solid Scheme produce their beats. By my count, this is the third time they've sample Biz Markie in their career, so far. The rhymes are a much better showing in punchlines than what we were used to hearing on the album, save for a few exceptions. Overall, this dope track went as high as it can. Moving the fuck along...
KRAZY WIT DA BOOKS
The first thing that caught me about this beat is how Drayz's delivery scheme involves him shouting. The poor guy's vocal chords must be reduced to shit, these days, right? No? He's still performing? He recently dropped a friggin' solo album?! Fuuuuck. The lyrics are a continuation of the winning form of the previous track. Some of these lines, like the Popeye reference, are flat-out hilarious. The beat uses a very fitting DMC sample from one of my favourite Run-DMC songs, "Ooh, Whatcha Gonna Do".
IT'Z LIK DAT
Solid Scheme's final contribution is their only fuck-up on the album. The beat is so minimalistic you feel like you're being suffocated. It does, however, succeed in finally subduing Drayz's delivery, which results in his lyrics sounding more direct and confrontational. Not Skoob's delivery, though: that fucker’s pitch has been a lost ever since the start of Straight Up Sewaside. The “Kaught In Da Ak” single contains a remix by Solid Scheme that uses a much better beat, resulting in a much better product.
HOST WIT DA MOST (RAPPAZ REMIX)
Just as the title fucking reads. The remix provides us with the lone Das EFX production. They don't change the lyrics, though, just the delivery of said lyrics. But the beat is just too disjointed for me to recommend this track. And we're done.
FINAL THOUGHTS: The fact that Straight Up Sewaside didn't sell shit points to only one factor: Das EFX's decision to discard their “sewage” gimmick was a fucking bad move, especially when you release your album just one year after you made your debut in this game. Although maybe Parish lost his knack for executive production after his breakup with Erick. You might also note that the pop culture references were cut down to a bare minimum. In any case, the odds were stacked too high against this album succeeding, resulting in its commercial failure. However, that made Straight Up Sewaside a more precise listen, thereby adding more sting to the punchlines, which was a nice touch. Also, the inclusion of “Kaught In Da Ak” immediately made this album a better product, simply because of how awesome their storytelling is. So, in reality, this album was the proper step forward for Krazy Drayz and Skoob Effects, who needed to step the fuck out of their gimmick's shadow. Of course, they would fuck up the entire evolution process by returning and sticking to the “sewage” gimmick, starting with their very next album. But that's a story for a later time.
WORTH IT? This is where it gets confusing: If you were all about the “-iggedy” from the first album, you'd do well to shove "Rappaz" in your playlist and move the fuck along, because this is not the same group you blasted into your subconscious via your Walkman. However, if you're a fan of Das EFX's writing, then this is a much easier choice, since nothing has changed thematically. Their flows just got better, in my opinion. If you're new to Das EFX and wanted to start here, you wouldn't be missing much of what made them great. Except for "Looseys". That song was genius. Find this shit immediately if you're in the latter two categories. Just in case someone out there confuses all this talk, I'm advising fans of quality hip hop that this album is essential.
