Kid Dop3

As a cry of “threes in the air” echoed through the cozy confines of New Haven’s Toad’s Place, Ab-Soul emerged amidst a hazy cloud of weed smoke and neon green lights, rocking his customary black tinted sunglasses with his typically unruly fro tucked neatly beneath a Duke Blue Devils snapback.

An eclectic mix of hip-hop heads and gangly teenagers, many of whom had formed a line outside hours before doors opened, roared after waiting through three opening acts for Ab-Soul to take the stage at 11:15 p.m. While Dreamville Records signee and J. Cole-affiliate Bas, along with local rapper Kid Dop3, did an admirable job of holding down the crowd, it was clear by about 10:30 p.m., after several deafening “Soulo” chants, that it was about time for the so-dubbed “Black Lip Pastor” to take the stage. Ab-Soul’s hype man and DJ, T1, hopped onstage to rile the audience up, and the rapper himself nonchalantly slinked up to the slightly elevated platform as if it were not even his own show, carrying a red solo cup. As he surveyed the crowd, he smiled. “New Haven, what the fuck is up?”

Ab-Soul sits at a crossroads in the hip-hop landscape. On the one hand, he is a part of Top Dawg Entertainment (TDE for short), the record label chiefly comprised of Kendrick Lamar, Schoolboy Q, Soul, and Jay Rock, which has taken the industry by storm the past two years. The self-dubbed “Black Hippy” crew cut their teeth on the underground rap circuit in Los Angeles until, after years of accumulating critical acclaim and a loyal following, they were pushed into the consciousness of mainstream rap with the release of Kendrick’s classic Good Kid, M.A.A.D City in 2012. In 2014, after Schoolboy Q released Oxymoron, buoyed by hits such as “Collard Greens” and “Man of The Year,” TDE President Punch promised the label would drop six projects this year, priming Ab-Soul to be the next Black Hippy to ascend to rap’s throne. In June, Ab-Soul released his major label debut, These Days, and while the project was met with general approval, it failed to resonate as deeply with its audience as Good Kid and Oxymoron, or to cross over into rap’s mainstream.

It is primarily because Ab-Soul refuses to conform to major label pressure and to drop radio-ready singles that he has been unable to catch up to luminaries such as Kendrick and Schoolboy, whom he once surpassed in appeal. This leaves Ab-Soul with the delicate choice of continuing to cater to a loyal following that can barely pack the intimate Toad’s Place, or push to join his TDE counterparts. But following the path of Kendrick or Schoolboy does not necessarily mean sacrificing artistic integrity for record sales. Both artists have been able to create music that satisfies at both a creative and commercial level. Rather, it is Ab-Soul’s apparent unease in adapting his style so drastically as to appear chameleon-like and lose his most important asset (a reputation as a technically superior rapper) that causes him to refrain from a drive towards mass recognition.

All of this bubbled just beneath the surface during the opening of Ab-Soul’s set as he furiously ripped through a series of hits from his fan-favorite first project, Control System. During “Terrorist Threats,” Ab-Soul led the entire crowd in a chant of “kick your game, spit your flow, can’t fuck with this Top Dawg shit though.” “Pineal Gland” and “Track Two” established a trippy and almost chilling atmosphere at times. T1’s manipulation of machine-gun-esque 808s into a harsh cacophony of sound prompted Ab-Soul to ask, “We scaring any of you guys yet?”

Ab-Soul has an impressive catalogue of guest appearances on the hits of slightly more established artists—something that he integrated effectively into his live performance. The audience, which regularly rapped along word-for-word verses, became most animated during performances of Chance The Rapper’s “Smoke Again” and Schoolboy Q’s “Druggy Wit Hoes Again.” Ab-Soul’s ability to mesh the work of his colleagues with his own set provided the crowd with a shot of energy at key points in in the concert. House of Pain’s “Jump Around” swirled into Kendrick’s “Backseat Freestyle” in a dizzying display that helped form a context for the space Ab-Soul’s own music occupies in the minds of rap fans.

Introducing the second half of his set, Ab-Soul did his prerequisite investigation of who had listened to These Days, presiding of his performance of “Days” with a workman-like attitude. “Dub Sac,” “Tree of Life,” and “Stigmata” allowed Ab-Soul to flex his loquacious wordplay, and his recital of “Hunnid Stax” literally caused the floor to shake. Audience members who were unable to keep up with the rapper’s dexterous flow had an easier time digesting Mac Miller’s monotonous but catchy hook.

When it was clear that Ab-Soul’s act was winding down, he brought one lucky audience member on stage to freestyle; after rocking the mic for several minutes, the newly recognized rapper began to hand out CDs from his back pocket and shout for a Twitter follow. Ab-Soul closed with “The Book of Soul,” an introspective number that united fans of both his projects. While it is unclear whether Soul will strive to be in the same conversation as his label mates, he was obviously very comfortable at Toad’s Place, spitting for an audience that reminded him that, as he says in “Tree of Life,” “I’m the solution, salute me, absolutely the best.” - The Wesleyan Argus

Kid Dop3 is one of my personal favorite Connecticut artists and I’m glad we’re going to be getting more tunes from him. This joint entitled “Cocaine Eighties” was recorded in Hartford at the Loft Studios and demonstrates Dop3’s lyrical talent.
The CT emcee also released a new video earlier in the month in support of the Introvert EP for the “Empire 3” track. Directed by Aro Osbron and produced by Esco Jerm.
Listen to the track below. - Straight Fresh

For whatever reason it may be, Connecticut isn’t a state permeated in mainstream’s proverbial hip-hop membrane; a state not praised for it’s diversity in sound or array of multi-faceted lyricists sure to make noise in the music scene. CT is often associated with a gimmick, an area that lacks originality & embodies a “follow the trend” stigma, piggybacking sounds off more prominent & popular areas. There’s no justification for such claims, yet those residing in the Constitution State acknowledge that the lack of respect from outsiders has affected its inner cultural scene. Venues in the state are scarce, and with only a few artists reaching [mediocre] success & exposure from the “mainstream” (i.e. Jitta On The Track, Chris Webby, Rich Hil), support for local artists from its own residents is minimal at best. Consequently, for some, relocation has proved to be the only resolution for such despondence.

The hunger to “be the first artist to blow in CT” potentially leads to imminent failure from a quality standpoint. Cliches aside, those striving for proper recognition must hone, and embrace, their niche while figuring out how to add subtle nuisances to each advancing project. Those looking to hit a home run with a shot at “making it” often sacrifice their sound by crafting a formulaic trap or dubstep track, systematically perpetuating the “follower” stereotypes labeled by outsiders looking in.

Thankfully, such criticism hasn’t hindered all progression, as artists often overlooked have denounced the critics, and continued to produce great bodies of work on their own terms. Kid Dop3, a 19 year old rapper out of New Britian, returns with his second offering, Busted Chucks, a polished stoner jam session full of summertime cuts perfect for your stress-free day off.

Whether inadvertently or not, potheads turned potheaded-emcees Curren$y & Wiz Khalifa molded a legion of faithful proteges looking to carry the customary touch, and Busted Chucks sustains that Prince of the City & Deal or No Deal hybrid aesthetic, embracing the thematic hazy approach down to the tee. The beats are airy and minimalistic, yet merely an instrument – the production provides a backdrop that rarely overpowers Dop3’s interchangeable flow, which has improved mightily since Balance, a underrated project in its own right. The first voice we here on the tape is EscoJerm, Dop3’s in-house producer (and the silent MVP of B.C.) who handles most of Busted Chucks, and we’re immediately reminded that this project was handcrafted by his inner camp. Producers Arch Tha Boss, Hudson Mohawke, DoughboiMuzik, Dela, and JordanAdameMusic – all relatively unknown beatmakers – bring their A-game, and lay the proper groundwork to complement Dop3’s reinvigorated vocals.

Similar to Wiz’s Kush & Orange Juice, there are a few skits littered throughout – muffled tape recordings of the “homies” shouting him out, and pressuring the emcee to drop the project – as well as few notable cultural skits attached to the end of tracks that flow perfectly with the project. Thematically, the tape fixates on the Chuck Taylors shoe, his pair of kicks that indubitably became a fixture of his attire when funds were scarce – and as the cover exhibits, through thick and thin. On “Prioritize (10 Toes), he addresses the misguided, buying sneakers before a whip or home:

“I ain’t hatin’ on a nigga gettin’ flashy for the skrilla … if he got it
$250 for the kicks and you ain’t got no whip bruh? … You ain’t bout it
Fresh out the box and you stylin’, with yo walkin’ ass, i’ll catch mileage
I’m the type of nigga that’ll get his grip, and go flip his shit and make profit”

“When a nigga couldn’t afford those AF1’s, Kobe’s and new Spike Lee’s
When niggas I knew were gettin’ busted up, I took busted chucks over Nikes”
Nothing poignant or mindblowing; just technically-sound bars with a wisdom far beyond his age. Dop3 doesn’t revel in material obsessions, yet enjoys his vices and encourages others to follow suit. His voice is often easy-going and conversational, clear of narrative or over-stretched lyricism. He’s the college kid who grabs his bong before he brushes his teeth, and eats his Capt n Crunch with his bare hands. He’s alluring, yet relatable. On “Ain’t Worried Bout Em”, he dreams of “foreign whips and trips to the Bahamas,” while dismissing all women & haters looking to derail his path to cash. “Turn Up” is a certifiable hit with its’ energetic hook and playful party lyrics. Formulaic topics of weed and women often reign supreme, but after multiple listens, it’s easy to see why Dop3 choose these two as singles.


Nonetheless, the emcee sounds most comfortable rapping with his fellow MC’s over a woozy atmosphere, a zephyr of Californation, full of harmless 80’s synths, soft drums and organs. Instead of bull-dozing the DOUGHBOIMUZIK-produced “G.O.L.D. Under None,” Dop3 and AE The Illusive never exert too much energy, riding the bass-heavy triumph effortlessly. “Dem Drugs” featuring Criss B and “Sweet Brown [Chill]” are pure jubilance, with the former sporting a chorus that would make Devin tha Dude smile in his fictitious grave. The latter is a vintage 90’s crossbreed, full of jazzy horns and smooth vocals, as Dop3 scores a 10 for his storytelling about a miserable chick who comes over, and blows his high:

Verse 1
“I call you over, to smoke a bag of douja
Grade A strains of Purp and a case of grape soda
Plottin on the takeover, watchin’ Half Baked
Ballin’ on them Kobe, tell me how my ass taste
I’m on that Shaq shit, big man, come walk the shoes that he in
Got the lean like kickstands only
Hydroplane and I been workin’ all day,
Chick bad vibes replace ’em, well just leave me alone then
I listen to ya problems, but now is not the time
Your mouth runnin’ like rivers, severely killin’ my high
Just wanna twist the sticky and add ignition to La
You textin’ at me bitch, you must not expect a reply
Cause right now? I got a date with Cloud 9
Misery, loves company, don’t come around I
Miss sour eyes (silly hoe), don’t be glaring over here
Injecting negative in air when you can tell I don’t care”

Hook
“You gots to chill, you gots to chill
Cause I aint got time for none of your bullshit
I aint Derrick Rose
For none of you scary hoes
So keep calm, and roll up that good piff”
The next verse, he details his interaction with one of the homies who just lost his job, and executes it impeccably. “Just Vibin’ Freestyle” is just a backyard free-for-all cypher, as Ty, Mike Flowz & Dop3 trading barbs with each one dropping equally impressive verses. Flowz joins forces with Dop3 again on “#BustedChucks”, a stadium-status anthemic delight, as Mike flaunts his two-time flow:

“Man I dont think you really want that stress, man I really think I want them checks
But I’m, so silly, I’ma sign for a milli, then I’m headed out to Philly just to see what’s next
Nigga ask about, my team we flex, we swaggin’ out, in them laid out jets
We backin’ out, them racks come out, what you askin’ bout? You aint see this yet”
Make no mistake: strip away Wiz’s current comfortability, dubious fashion choices and multiple RIAA plaques, and you have Kid Dop3. His voice, subject matter and flow are identical; on “Elementary”, the chorus is the first four bars off of Khalifa’s “Mesmerized” hook. The influence is there, yet he Dop3 doesn’t feel like a carbon copy. He has a penchant for crafting crossover hits (“Turn Up”), anthems (“Empire 2”) and barbecue jams (“Regret”, “Let Em Know”). Dop3 doesn’t attempt to reinvent the wheel; he took his niche and refined it – and in doing so, he created a cohesive project fit for all audiences. And one certified to draw looks from those in and out of CT.

Finally. - Q. Narcisse