The name KJ-52 reminds me of a cheesy cable channel that shows uneventful, homemade television shows for those who have nothing better to watch. When I heard the first song I thought that's what I was getting: the sound of two guys talking about who the best emcee of all time is, with a corny 80's drum track behind it. The talking continued and it became obvious that the greatest emcee of all time they are referring to is Jesus Christ. A good message, but way too corny for my taste.
The distorted, synthesized hi hat, equalized with way too much treble continued into the second song, joined by a psuedo-Jamaican accent. The cheesiness marched on with a cover of dc Talk's, 'The Hardway,' and an effect like Cher singing "Do you believe in life after love?" If the intro wasn't bad enough, the goofy dialogue continued in the middle of the CD--only this time there was no message behind the conversation and the voices were even more irritating. We have to put up with the poor attempt of portraying Jesus Christ as the best emcee ever again at the end of the album.
Although most of the CD was annoying, there were some highpoints. KJ-52 did a better job of getting his message across in his actual lyrics than his dialogues. I did find myself grooving to the beat thumping through my speakers in 'Do what I Do,' which is an attempt at explaining the mission of KJ-52--but without a lyric sheet it was nearly impossible to understand what that mission was.
If you are looking for a group that gives you bass, KJ-52 might be what you are looking for. Most of the songs include a hard-core bass line. The rhythms are intriguing, but still lacking. Some songs make it hard to stop rocking in your chair, but for the most part it is hard to listen to with the contrasting big bass and ear piercing treble.
My suggestion is to skip over this CD, leave it for the roller rink on Christian rock night or let your youth group leader pick it up for one of the get togethers you have where you eat pizza, drink pop, and try to get away with a little jive here and there without offending the older generation in attendance. A failed attempt at integrating a popular style of music with Christianity.
Other coverage for this album
The Phantom Tollbooth 2004Reviewed by Marcus HathcockIt's been four years now since KJ-52 appeared on the Christian rap scene. Most fans are familiar with 52 for his "controversial" song "Dear Slim," which challenges Eminem's worldview. It all started, however, with 7th Avenue, an ambitious hip-hop album that introduced a skeptical Christian rap audience to a fresh rapper who could preach like Billy Graham with the youthfully appealing style of…The Phantom Tollbooth 2000Reviewed by Tony LaFianzaKJ-52, a.k.a. Jonah Sorrentino, brings together an impressive cast of supporting characters for his debut record on Essential Records. Produced by Gotee Brothers' Todd Collins, guest appearances include rap talents Knowdaverbs, Deuce and Phanatik from Cross Movement, Bonafide of GRITS, and Amani. The result is an arresting, commanding experience in urban hip hop music. Mostly East Coast style,…Similar sounding releases
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