Album Review: Willie The Kid & Bronze Nazareth- The Living Daylights

Posted: March 24, 2014 by ericbernsen in Album Reviews, Music
Tags: , , , ,

The influence of the Wu Tang Clan on the genre of hip-hop is notorious and even in the modern day climate that is less focused on grimy street raps, there is still plenty of room for younger protégés to shine. We have a noteworthy example of this here with Willie The Kid and Bronze Nazareth linking up on The Living Daylights album. The Wu Tang affiliation is close to home for both artists as Bronze Nazareth has produced multiple songs for the group over the years, while Willie The Kid is cousins with La The Darkman (another Wu affiliate). With this in consideration, it makes sense that these two would have a natural musical chemistry together, and The Living Daylights is a product of that classic Shaolin sound that so many hip-hop heads continue to cherish. While the project may not receive the widespread attention of a Wu Tang Clan release, The Living Daylights excels as a cohesive body of work that sticks to its street essence.

Willie The Kid is an emcee who had been on our radar screen recently due to his strong performance on the Masterpiece Theatre EP that was produced by the Alchemist. He continues his run of success on The Living Daylights as his lyrical ability does not falter at all over the course of the project. His old school style meshes nicely over the soul sampled production provided by Bronze Nazareth as Willie The Kid effectively paints pictures of his trials and tribulations. The reflective tracks such as “Sweet Sorrow” and “The Guilt” showcase Willie The Kid as a vivid storyteller who has no lack of genuine, hard-hitting rhymes. While his hooks may not be a forte, there is no denying the quality of Willie The Kid’s bars and a few of the guest features contribute verses that are just as noteworthy. Album singles like “Avalon” are evidence of this as Willie The Kid and Roc Marciano (a great pairing) sound right at home over the classic David Axelrod sample (popularly used on ‘Still D.R.E’). Other emcees such as Boldy James (‘Ain’t Nothing’), Sean Price, and Sha Stimuli (‘Delirium’) also come through with hard-hitting bars which stick with overall theme of The Living Daylights as a collection of grimy tracks that the Wu Tang generals should be proud of.

The cinematic sound (with movie/kung-fu skits galore) of The Living Daylights is courtesy of Bronze Nazareth, who executes his sample choices like a true expert behind the boards. Both sonically and subject-matter wise, this album is very cohesive and some critics would say too much so. There is nothing on The Living Daylights that we would consider as groundbreaking, it is more so a tribute to the classic 1990’s East Coast gangster rap that we all know and love. By creating a dark yet majestic vibe through the use of his soul samples, Bronze Nazareth creates the appropriate platform for Willie The Kid unleash his brutally honest rhymes.

The Living Daylights is a toast to success, but introspective in terms of remembering a harsh/violent past that many hip-hop artists are bred from. Coming together for a full-length project made all the sense in the world for these two as both sound right in their artistic comfort zone. Willie The Kid and Bronze Nazareth stick in their lane on the album and the result is a vintage body of work that all 90’s boom-bap fans will appreciate.

Album Rating: 7/10 







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