Album Review: "Absolute Power" by Tech N9ne

I'll be the first to admit it. I'm a huge, HUGE fan of Tech N9ne. I'm not even afraid to go so far as to say Stan. He's my favorite MC and a lot of my work, especially early on, will be based around his music and his local scene (I'm close to the Kansas City hip-hop scene anyway, so it's accessible and I'm especially knowledgeable about it). With that said, I find it to be only fitting for my first review to be over arguably one of the Kansas City King's most essential albums, and his best-selling to date, Absolute Power.
Absolute Power as an album was borne out of the frustrations of a struggling independent artist and his disdain for the music industry in general. Tech had been with a number of major labels that were confused as to how to successfully market the bizarre Midwestern artist (including stints with heavyweights such as Quincy Jones and Jimmy Jam & Terry Lewis). Output from these musical marriages was minimal, despite Tech managing to garner appearances on major soundtracks (Gang Related, Thicker Than Water). Tech eventually linked with local producer Don Juan and the JCORR label to produce the seminal album Anghellic. However, despite the success of Anghellic, tension within the label caused Tech to once again bounce, and, according to the artist himself, leave with much of HIS money in Don Juan's hands. The content from Absolute Power is dark, angry, and depressed as a result of this frustration, but it's also clear that these frustrations inspired some of Tech's best work. Now with his own independent label (Strange Music), Tech was able to create a work that is seen by some as his magnum opus to this day.

1. Intro
In all honesty, this intro is arguably one of the most obnoxious of the many annoying skits Tech N9ne has managed to work into his albums. It is somewhat of a brief interview discussing the common misconception of Tech as a devil worshiper, and even in the interview Tech claims to be very high. It does, however, set up the drug-addled theme of some of the latter portions of the album.
Skit rating: 1.5/5.0

2. The Industry Is Punks
The musical portion of the album opens on a very strong note. Tech vents his frustrations with the music industry in rapid-fire flows and demonstrates his lyrical dexterity and cleverness in the process ("Big Tech N9ne's gonna be the one running the race/That's real, I'm speaking to everyone in the place/I can deal with you don't like the drum and the bass/If you can deal with a motherfucking gun in your face"), and the operatic chorus vocals provided by newcomer Krizz Kaliko add an ominous feel to the track.
Instrumental rating: 3.5/5.0 A fat, brassy backdrop for Tech's angry rhymes. Produced by Rubonyx.
Lyrical rating:  4.5/5.0 Tech is almost at the top of his flow and lyrical ability here.

3. Here Comes Tecca Nina

This was a single that received modest spins in Tech's region, and it works fairly well placed this early in the album. The song is not one of Tech's strongest; it's a decent lyrical performance and works fairly well as braggadocio rhymes, but the hook is somewhat repetitive. However, its inclusion early in the album helps to build into the darker, less accessible material later, and it's a fairly fun track. Includes a spoken intro from Krizz Kaliko and outro from Kutt Calhoun.
Instrumental rating: 3.0/5.0 The instrumental is catchy and works well for Tech to exercise his verbal gymnastics. Produced by Carl Breeding, co-produced by Flash Technology.
Lyrical rating: 3.5/5.0 Tech's malleable flow is on pure display here, but the lyrics are simply typical hip-hop braggadocio. Definitely enjoyable but not among Tech's most compelling work.

4. Imma Tell

As a single, "Imma Tell" is among Tech's most iconic and successful to date. It built quite a regional buzz despite being a track that one might think would quickly grate on the nerves. Built around a vocal sample from Rosemary Clooney's "Mambo Italiano," the track is one that is very likely to get stuck in your head with its catchy, simple chorus ("This is the town where the clowns put it down..."). Tech's rhymes alternate between 2 bars of slow flow and 2 bars of triple time flow on the verses, a theme that almost feels like listening to two separate songs mashed up when you consider the rhyme scheme. It's creative and ambitious and manages to pull this off without sacrificing catchiness, making it a great choice to build buzz for the album.
Instrumental rating: 2.5/5.0 The beat has an annoying wood block sound that repeats during the triple-time sections, and is rather repetitive. The skittering drums during the triple-time sections are somewhat a staple of Tech's sound, as fellow collaborators Icyroc Kravyn and Rubonyx both tend to lean on these devices for Tech's earlier recordings. Produced by Rubonyx.
Lyrical rating: 4.0/5.0 Tech's rhymes and especially flow are once again on full display here, as he proves his versatility and ability to pull off the two differing flow sounds with his brassy baritone and lyrical dexterity.

5. Slacker

"Slacker" is without doubt the most comical song Tech has ever released. Its subject matter is a major departure from the typically angry material throughout the rest of the album, and even from the sound of most hip-hop, period. Tech's rhymes ("I'm about to make it famous/so you can take that J-O-B and you can shove it up your anus") are so catchy, self-deprecating, and satirical of the slacker lifestyle that they can appeal to the punk-rock stoner, lazy teenager, shut-in gamer, and out-of-work artist in us all.
Instrumental rating: 3.0/5.0 The instrumental is fairly unspectacular, but it definitely takes nothing away from the song and the somewhat whimsical sound makes it a perfect "slacker" beat. Produced by Femi Ojetunde.
Lyrical rating: 4.5/5.0 The lyrics are nothing incredibly complex, but the genius is in the originality and comedy delivered with them.

6. Keep On Keepin' On (feat. Krizz Kaliko)
The album takes an unexpectedly serious turn here with the somewhat inspirational "Keep On Keepin' On." Tech reflects on some of the trials and tribulations of his career to date, and vows never to quit. It serves as a defiant "F-you" to his haters, as well as a promise to his fans to continue to make the best music he can for them. Krizz Kaliko provides his soulful vocals on the chorus, which is written around a lyric from the Notorious B.I.G.'s "My Downfall."
Instrumental rating: 4.0/5.0 One of the more ambitious instrumentals on the album, the track's low horns, harpsichords, and strings make for a slightly odd, but entertaining beat. Produced by Rubonyx.
Lyrical rating: 4.0/5.0 Nothing groundbreakingly original by Tech's standards, but an enjoyable pledge of resiliency.

7. Gunz Will Bust (feat. Money Hungry, Mr. Stinky, and Skatterman & Snug Brim)
"Gunz Will Bust" stands as a fairly mundane posse cut and gangsta rap track. With a repetitive and somewhat annoying instrumental, uninspired verses from guests Money Hungry and Skatterman & Snug Brim, and the unnecessary chorus vocals from reggae artist Mr. Stinky, the track would be all but skippable if not for Tech's fiery verse at the end to rescue it. Tech spits with such fury and intensity that it's worth sifting through the rest of the track to reach it.
Instrumental rating: 2.0/5.0 I really dislike this instrumental. It's repetitive and simply loops an abrasive horn riff throughout the track. Produced by Big Los.
Lyrical rating: 2.5/5.0 Skatterman & Snug Brim would later become Strange artists and make some good music, but their value was not readily apparent on this track. Likewise Money Hungry.

8. Bianca's and Beatrice's (feat. Kutt Calhoun)
This bizarre track stands as the last glimmer of hope until the finale as it plunges into darkness from here. The whimsy of the track somewhat masks the overt sexism displayed, as Tech describes a colloquialism he developed that refers to loose women as "Bianca's and Beatrice's," as opposed to bitches and hoes. Includes an early verse from Kutt Calhoun that shows nothing of the dynamic MC he was to become.
Instrumental rating: 2.0/5.0 Another instrumental of which I'm not fond. The beat is based around a harpsichord riff that is more abrasive than catchy. Produced by Rubonyx.
Lyrical rating: 2.5/5.0 Even Tech's talent couldn't save this track.

9. Diamond Joe's (Interlude)
This skit would become oft-parodied on Tech N9ne's later material, as it describes a party at a club called Diamond Joe's and sets up the following track, "Slither."
Skit rating: 3.0/5.0 Mainly for its influence on later material.

10. Slither
A strange track that seems to be the beginning of Tech's later fascination with vampires that strike in the bedroom, Tech chronicles the story of a visit to a strip club whose women aren't quite what they seem to be. He brings them home only to be rudely surprised by their bloodsucking habits.
Instrumental rating: 2.5./5.0 Another example of how this album suffers from some of its weak instrumentals. It succeeds in being different, but not in a good way. Not terrible, but definitely not great. Produced by RonnzfromBerlin.
Lyrical rating: 3.0/5.0 The story sounds like it could be a lot more compelling than it really is. Tech is a great storyteller, but falls a little short on this track. Later he would make songs around a similar theme, but featuring himself as the on-the-low vampire with much better results.

11. Disturbance (Interlude)
A completely unnecessary interlude, but hardly worth complaining about at only 7 seconds long. However, it could be said that this interlude, and the one that comes in at track 16, set a later precedent for Tech's tendency to break his albums up into sections containing like-minded tracks.
Skit rating: 1.0/5.0 Wasn't worth making into a separate track.

12. Trapped In a Psycho's Body
This, along with "T9X," is one of the most compelling tracks on the album and offers one of the realest and most disturbing glimpses into Tech's psyche of his entire career. Tech raps in two different voices representing his dual personae: one is the psycho that dominates his life with his sin, drugs, and lust; the other is the upstanding innocent man that is powerless to do anything but watch as the "psycho" ruins his life. This stands as possibly the best track on the album and one of the highlights of Tech's discography and his oft-lauded tendency to delve into the darkest corners of the human experience. The only flaw of the track is in the chorus, which could be seen as annoying but is also slightly creepy with its backmasked female vocals. Depending on which way you approach it, you'll either love or hate the chorus. Krizz Kaliko's wailing outro concludes it perfectly.
Instrumental rating: 4.5/5.0 The tinkling keys on the track add a haunting effect to the dark, drum-driven instrumental. Produced by RonnzfromBerlin.
Lyrical rating: 5.0/5.0 The internal struggle between the good and evil sides of Tech make this a most compelling track, on par with the darkest works of other, more notorious demon-battlers in hip-hop such as DMX and Eminem.

13. T9X
The downward spiral continues with "T9X." An analysis of the lyrics on paper would make it seem like a celebratory ode to all types of illegal drugs, but being able to hear the dark backdrop and the screwed vocals adds an almost eerie feel to the track and suddenly, it seems more like a cry for help than a party. The celebration described in the verses is contradicted at the end of each verse with an ominous line of predicted self-destruction ("She told me take this cap of GHB/with a gulp of Mountain Dew with glee/so I can possibly end my existence/GHB, ain't no need for resistance..."). The powerlessness and dependence of addicts is portrayed in this song to a T. This is the Tech N9ne Experience.
Instrumental rating: 4.5/5.0 The sluggish, heavy beat sounds like it was constructed after sipping some of that sizzurp, but instead of the laid back vibe of screwed Houston music, it ends up being a dark, black hole of a beat that pulls the listener into the world of ecstasy and 'shrooms. Produced by Icyroc Kravyn.
Lyrical rating: 5.0/5.0 The duality the lyrics portray the partying lifestyle to be goes beyond any amount of technical analysis I can provide. The slowed-down vocal effect only adds to the experience, and it's a track that needs to be heard to be fully analyzed.

14. She Devil (feat. D12)
This track is an early example of what would become a theme of Tech's struggles within himself and his battles with what he considers his greatest demon, lust. Alongside Eminem's homies, Tech weaves a story of how an obsession with gold-digging, sex-crazed women can take control of a person's life, as temptation ruins relationships and takes what is dear, while D12 all tell their own stories of encounters with she devils. Proof in particular seems to suit this track well, and I for one found myself wishing it had been a Proof and Tech duet instead. The chorus ends up sounding too similar to the one on "Trapped In a Psycho's Body" for me, but otherwise is a solid track.
Instrumental rating: 3.0/5.0 The beat was okay, but unspectacular. Also, the high-pitched noises on the chorus can have somewhat of a "mosquito-buzzing-in-the-ear" effect. Produced by RonnzfromBerlin.
Lyrical rating: 3.0/5.0 The stories don't really fit completely together, in particular as Bizarre's horrorcore lyrics and Swifty McVay's blatant misogyny stray from the track's theme.

15. Worst Enemy
Continuing the theme of lust as a destructive force, the paranoid "Worst Enemy" spits acid at a treacherous acquaintance that Tech asserts ruined his life. The identity of the foe comes as a somewhat amusing, somewhat shocking surprise that one should hear the track to discover. Krizz Kaliko's vocals at the end mimic the ones Tech used at the end of Anghellic's "This Ring," which themselves were borrowed from Korn's "Freak On a Leash."
Instrumental rating: 4.0/5.0 The instrumental's classical violin sounds and jumpy drums add to the paranoia of the track. Produced by Rubonyx.
Lyrical rating: 4.0/5.0 The intensity builds as Tech tells the story, leaving the listener clamoring for the identity of this betrayer, and when you find out, you'll find some of the lyrics much more clever in subsequent listens.

16. Signing Off (Interlude)
Essentially signals the end of the madder section of the album, but again does not need its own track.
Skit rating: 1.0/5.0

17. Absolute Power
This stands as one of the album's greater tracks as well, with its outright defiance and braggadocio leaving anyone that hears it demanding "Absolute Power" themselves. "I teach it and I speak it very loosely/stamina gunning got player haters running profusely/now I got the parents pissed and ready to noose me/'Cause they know that absolute power corrupts, ABSOLUTELY!" Tech spits in the final verse, and he couldn't be more right. The backmasked section at the beginning is Tech reciting a poem.
Instrumental rating: 4.0/5.0 Another fat beat, complete with crunching guitars, ominous strings, and subtle chimes, for Tech to run rampant over. Produced by RonnzfromBerlin.
Lyrical rating: 4.5/5.0 Tech's bold rhymes and prophetic chants of "Tecca Nina's 'bout to blow" dare haters to continue to question his drive and ability.

18. Yada, Yada, Yada
More than just a dis track, this song stands as both a threat and a dare to former producer Don Juan to continue running his mouth and doing his shady business. Anyone that listens to Tech knows he doesn't do dis tracks to spark on-wax battles and drum up publicity; they're business, always personal. "So now you can take away me and keep on talking crazy/and I'ma let them know where you keep your baby and where you stay, D," Tech spits, and something in the conviction of his words makes you believe him.
Instrumental rating: 3.5/5.0 The beat has a hint of Midwest drum-n-bass and a hint of West Coast G-funk, but is all dark and hard-hitting. Produced by 5150 Mental Productions.
Lyrical rating: 4.0/5.0 Tech's anger and hurt are on full display here, and this is one of the things that makes Tech N9ne's music so enjoyable. His emotions are always on center stage and even when he's making threats, you get the feeling that he'd rather have just never been in this situation to begin with.

19. Constantly Dirty (feat. 57th Street Rogue Dog Villains)
I see this as something of a companion piece to "Keep On Keepin' On," as Tech and his crew of Big Scoob, Txx Will, and Bakarii rhyme about their struggles. Tech's chorus of "Ain't nobody ever gave me nothing, I'm on my own/I was down and dirty when I was young but now I'm grown/and I continue to struggle, you heard me/me and my niggas in the course and we constantly dirty" is a sentiment to which anyone who's had to endure trials and tribulations in life can relate.
Instrumental rating: 3.5/5.0 The subtle, sad strings in the background provide a nice backdrop for the MCs to wax reflective over their pasts. Produced by 5150 Mental Productions.
Lyrical rating: 4.0/5.0 Tech and Txx Will in particular construct descriptive verses through which you can almost feel their pain. One of the better introspective tracks of Tech's early career.

20. I'm a Playa (feat. Krizz Kaliko)
This boastful track stands alongside "Caribou Lou" as one of Tech's most well-known tracks, with its interpolation of Falco's "Rock Me Amadeus" and Krizz Kaliko's well-known vocals on the chorus. It's a strong track to close out the album on a happy, party-ready note, complete with advice for would-be playas to follow. Kaliko also puts down some bars on the second verse, providing an early preview of the clever boasts and witty punchlines for which he would become known (including the comical boast and my personal favorite line of the track, "I'm in hot pursuit of a prostitute").
Instrumental rating: 4.0/5.0 The sample of "Rock Me Amadeus" provides a somewhat techno-flavored beat that gives the track something of an '80s feel. Produced by Robert Rebeck.
Lyrical rating: 4.0/5.0 The clever boasts were reminiscent of the macktastic raps for which earlier MCs such as Big Daddy Kane and the Notorious B.I.G. were known, and to me this will always feel like an old-school track that was simply released later.

Composite ratings
Instrumental quality: 3.3/5.0
Lyrical content: 3.9/5.0
Composite rating: 3.6/5.0
The album wasn't perfect, but it definitely does a great job of setting up this stage of Tech's career, as he was beginning the journey to becoming the most successful independent hip-hop artist of all time and would show the type of creativity and talent of which he was capable.