Bone Thugs-N-Harmony: Strength and Loyalty

Gentry Boeckel

Strength and Loyalty's biggest fault is its complete unBoneness. It's completely devoid of that darkness that permeated their earlier work.

Bone Thugs-N-Harmony

Strength & Loyalty

Label: Interscope
US Release Date: 2007-05-08
UK Release Date: 2007-05-07

Maybe its because I’m from the Midwest, but my friends and I would compete to discover the fastest rappers. Obviously, they were all from the Midwest: Twista, early Mystical, Tech N9ne, Crucial Conflict, Do or Die. But none of them touched Bone, especially Bizzy Bone. None of them had that mysterious aura that Bone had, either. I remember gathering around the mirror with all my neighborhood friends, reading the cryptic backwards liner notes from East 1999 Eternal. My friend heard a rumor that the members of Bone had sold their souls to the devil (a la Robert Johnson) so that they could rap as fast as they did. The devil was going to kill them all simultaneously on January 1st, 1999. It sounds silly now, but at the time, steeped in Bone Thugs lore, it seemed possible. We found signs everywhere of their supposed satanic connections: the frequent ouija board allusions, the constant refrain of “Mo Murder”, like a chant, and the skull-n-bones imagery. But it was the sheer ability of the group which made it seem like their skills could come from nowhere else but a higher (or lower) power.

In The Truth Behind Hip-Hop, preacher on a mission, G. Craige Lewis, attempts to point out the satanic intentions of popular rap stars. In one segment, Lewis held up the same booklet for East 1999 Eternal I held up in the mirror when I was 13-year-old and explained that the backwards liner notes had their roots in a satanic curse and that anyone who read them put a hex on themselves and were left open to the devil’s whims. He told a story about his first experience with the group through a video he saw on MTV. He said that the group’s sound was “mesmerizing and hypnotizing”, that it put him in a strange trance that could only be connected with dark forces. A slight exaggeration, obviously, but Bone did have a powerful aura. They were, and still are, one of the weirdest groups to attain commercial success (and a Grammy). But for all their flirtation with the dark side, Bone were always spiritually minded. Their biggest success, “Tha Crossroads”, was a song about death, but with a hopeful refrain: that the band would someday meet all their loved ones at the crossroads. Where they would go from there was left open. The guilt of street life was always heavy on the members of Bone. One of their best songs, “Days of Our Livez”, opens with the wholly depressing line, “only time will tell who dies.” Now it’s 2007 and Bone are still alive, trying to make money on novelty nostalgia.

What I’m trying to convey with all this is history is that the mystery of Bone is gone. Somewhere between The Art of War and BTNHResurrection the group lost touch with that thing that made them special. They proceeded to spread themselves too thin with side projects and solo albums, to forget what originally made them so unique in the first place -- it wasn’t just that they could rap fast, it was that they tapped into a very real spiritual sadness brought on by a very real impoverished upbringing. The Bone Thugs on Strength and Loyalty has heart, but is devoid of any mystique.

Their last great album, BTNHResurrection, while made at maybe the height of the group’s feuding, led to some amazing songs. The opening half is bolstered by a collection of dark, apocalyptic tracks that belied the “comeback” single, “Resurrection (Paper Paper)". Flesh-N-Bone and Bizzy really held the album afloat, with Krayzie and Wish on only a handful of tracks (reportedly because Krayzie and Bizzy could hardly be in the same room together). On the companion making-of DVD, Bizzy is an absolute mess, either spitting Biblical vitriol while brandishing a knife or trying to fight Wish Bone for smoking his weed. In the studio he was a man possessed, eyes closed, body quivering like a seizure victim. On the other side, Krayzie was always the mellow one, the business man. Layzie and Wish just seemed happy to be in on the ride, hungry to get it done and get paid. Flesh was quiet, peppering his speech with nervous “you know what I’m sayin’”’s and folding and unfolding his arms. This was what Bone had become: less a group than a collection of disparate friends who got together to make money.

Strength and Loyalty is the same but with even less group effort. Swizz Beats, treating them like Golden Age rap-loyalty, offered them a deal on his Full Surface Record imprint. Bizzy, homeless and nomadic, was contacted by the rest of the group to get in on the deal. He turned it down. It was maybe the smartest and stupidest move he ever made.

Major label (and major beats) aside, the biggest change on Strength and Loyalty is this absence of Bizzy Bone, the only member to never lose that special connection the group had to the spiritual world. Easily the best, and easily the most interesting member of the group, Bizzy’s absence from Strength and Loyalty is stunning. But looking at Bizzy’s current musical direction (bouncing from label to label with his underground, wordy musings), I really wouldn’t want to hear him rhyme over a Swizz beat or struggle for time with bloated Akon choruses. Bizzy’s output from the last few years (which amounts to like, three albums each year) will be applauded as the work of a misunderstood genius. Yeah, he’s slightly eccentric, but most great artists are. Bizzy was always a couple steps ahead of the other members, besides maybe Flesh, who is sorely missed (and rumored to be getting out of jail soon to join the rest of the group, Bizzy included) and whose two solo albums almost matched the darkness of the group’s masterwork, East 1999. With Bizzy working out his own personal demons, the other members are forging ahead without him and the album greatly sufferes because of it.

Strength and Loyalty's biggest fault is its complete unBoneness. It’s completely devoid of that darkness that permeated their earlier work. Treated like royalty, Bone now get the superstar beats and the superstar guests. Of those guests, Mariah Carey I can understand (even if it is just another attempt at rekindling past collaboration-glory) But Bow Wow? Akon? Bone, particularly Bizzy, could have sung the hook to “I Tried” themselves, instead they enlist the ubiquitous hitman to sing it. And sing it he does: over two minutes of the 4:50 long song are given up to Akon’s chorus (which is sung four times). Elsewhere, The Game’s appearance for a guest verse on “Streets” is strange because, if his previous lyrical name-dropping is any indicator of his hip-hop love, he doesn’t even know the Midwest exists. Which is what makes this sudden Bone love so off-putting -- it’s like the group is a nostalgic novelty act, and everybody wants to name-drop ‘em. It’s like Layzie Bone has said (repeatedly), everybody loves Bone, but Bone doesn’t sell anymore. The whole concept behind Strength and Loyalty is to change that.

Gimme DJ Uneek, the producer behind all of East 1999 Eternal and The Art of War, over and Jermaine Dupri any day. Uneek was the only producer who ever really understood Bone’s sound and his moody, twinkling backbeats are missed, replaced by Jermaine Dupri’s shining radio-ready exuberance and Akon’s string-pulling piano ballads. “Gun Blast”, produced by Ty Fyffe, cops the same Basic Instinct sampling beat that Cam’ron used for “You Gotta Love It” (which is just lazy considering Fyffe has worked with Cam). “Flowmotion” is little more than an updated version of an extremely early Bone track (back when they were known as B.O.N.E. Enterprise) of the same name -- not surprisingly it’s the albums fastest, most melodic and best track. The one leftover from Layzie Bone’s failed Mo Thug project, Felecia, makes an appearance on the glimmering, much too positive “So Good, So Right.” And then, at the very end, is yet another Akon produced, Akon featuring track. I’m just imagining the three remaining Bone members, beleaguered and desperate, ready to get back on the charts, being pushed around by producers and record execs to make something for the radio, and in the end, bowing to them all.

The Bone I knew, or the Bone I like to think I knew, would have used this nothing-left-to-lose opportunity to create something unlike anything else. Instead, they’ve intentionally created something that sounds like everything else, something totally unBone. I don’t wanna be just another “their-earlier-shit-was-better” kinda guy, but, well -- their earlier shit was better.


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10. “Bedlam in Belgium”
(Flick of the Switch, 1983)

This is a massively underrated barnstormer from the boys off the much-maligned (unfairly, I think) Flick of the Switch. The album was missing Mutt Lange, but the Youngs did have his very capable engineer, Tony Platt, as co-producer in the studio at Compass Point in the Bahamas. Tony’s a real pro. I think he did a perfectly fine job on this album, which also features the slamming “Nervous Shakedown”.

But what I find most interesting about “Bedlam in Belgium” is that it’s based on a fracas that broke out on stage in Kontich, Belgium, in 1977, involving Bon Scott, the rest of the band, and the local authorities. AC/DC had violated a noise curfew and things got hairy.

Yet Brian Johnson, more than half a decade later, wrote the lyrics with such insight; almost as if he was the one getting walloped by the Belgian police: He gave me a crack in the back with his gun / Hurt me so bad I could feel the blood run. Cracking lyrics, Bon-esque. Unfortunately for Brian, he was removed from lyric-writing duties from The Razors Edge (1990) onwards. All songs up to and including 2008’s Black Ice are Young/Young compositions.

Who’ll be writing the songs on the new album AC/DC has been working on in Vancouver? AC/DC fans can’t wait to hear them. Nor can I.

9. “Spellbound”
(For Those About to Rock We Salute You, 1981)

"Spellbound" really stands as a lasting monument to the genius of Mutt Lange, a man whose finely tuned ear and attention to detail filed the rough edges of Vanda & Young–era AC/DC and turned this commercially underperforming band for Atlantic Records into one of the biggest in the world. On “Spellbound” AC/DC sounds truly majestic. Lange just amplifies their natural power an extra notch. It’s crisp sounding, laden with dynamics and just awesome when Angus launches into his solo.

“Spellbound” is the closer on For Those About to Rock We Salute You, the last album Lange did with AC/DC, so chronologically it’s a significant song; it marks the end of an important era. For Those About to Rock was an unhappy experience for a lot of people. There was a lot of blood being spilled behind the scenes. It went to number one in the US but commercially was a massive disappointment after the performance of Back in Black. Much of the blame lies at the feet of Atlantic Records, then under Doug Morris, who made the decision to exhume an album they’d shelved in 1976, Dirty Deeds Done Dirt Cheap, and release it in-between Back in Black and For Those About to Rock.

In the book Phil Carson, who signed AC/DC to Atlantic, calls it “one of the most crass decisions ever made by a record-company executive” and believes it undermined sales of For Those About to Rock.

8. “Down Payment Blues”
(Powerage, 1978)

This is one of the best songs off Powerage -- perhaps the high point of Bon Scott as a lyricist -- but also significant for its connection to “Back in Black”. There are key lines in it: Sitting in my Cadillac / Listening to my radio / Suzy baby get on in / Tell me where she wanna go / I'm living in a nightmare / She's looking like a wet dream / I got myself a Cadillac / But I can't afford the gasoline.

Bon loved writing about Cadillacs. He mentions them in “Rocker” off the Australian version of TNT and the international release of Dirty Deeds Done Dirt Cheap: Got slicked black hair / Skin tight jeans / Cadillac car and a teenage dream.

Then you get to “Back in Black”. Bon’s dead but the lyrics have this spooky connection to “Down Payment Blues”: Back in the back / Of a Cadillac / Number one with a bullet, I’m a power pack.

Why was Brian singing about riding around in Cadillacs? He’d just joined AC/DC, wasn’t earning a lot and was on his best behavior. Bon had a reason to be singing about money. He was writing all the songs and just had a breakthrough album with Highway to Hell. Which begs the question: Could Bon also have written or part written the lyrics to “Back in Black”?

Bon’s late mother Isa said in 2006: “The last time we saw him was Christmas ’79, two months before he died. [Bon] told me he was working on the Back in Black album and that that was going to be it; that he was going to be a millionaire.”

7. “You Shook Me All Night Long”
(Back in Black, 1980)

Everyone knows and loves this song; it’s played everywhere. Shania Twain and Celine Dion have covered it. It’s one of AC/DC’s standbys. But who wrote it?

Former Mötley Crüe manager Doug Thaler is convinced Bon Scott, who’d passed away before the album was recorded, being replaced by Brian Johnson, wrote the lyrics. In fact he told me, “You can bet your life that Bon Scott wrote the lyrics to ‘You Shook Me All Night Long’.” That’s a pretty strong statement from a guy who used to be AC/DC’s American booking agent and knew the band intimately. I look into this claim in some depth in the book and draw my own conclusions.

I’m convinced Bon wrote it. In my opinion only Bon would have written a line like “She told me to come but I was already there.” Brian never matched the verve or wit of Bon in his lyrics and it’s why I think so much of AC/DC’s mid-'80s output suffers even when the guitar work of the Youngs was as good as it ever was.

But what’s also really interesting about this song in light of the recent hullabaloo over Taurus and Led Zeppelin is how much the opening guitar riff sounds similar to Head East’s “Never Been Any Reason”. I didn’t know a hell of a lot about Head East before I started working on this book, but came across “Never Been Any Reason” in the process of doing my research and was blown away when I heard it for the first time. AC/DC opened for Head East in Milwaukee in 1977. So the two bands crossed paths.

6. “Rock ’N’ Roll Damnation”
(Powerage, 1978)

It’s hard to get my head around the fact Mick Wall, the British rock writer and author of AC/DC: Hell Ain’t a Bad Place to Be, called this “a two-bit piece of head-bopping guff.” Not sure what track he was listening to when he wrote that -- maybe he was having a bad day -- but for me it’s one of the last of AC/DC’s classic boogie tracks and probably the best.

Mark Evans loves it almost as much as he loves “Highway to Hell". It has everything you want in an AC/DC song plus shakers, tambourines and handclaps, a real Motown touch that George Young and Harry Vanda brought to bear on the recording. They did something similar with the John Paul Young hit “Love Is in the Air”. Percussion was an underlying feature of many early AC/DC songs. This one really grooves. I never get tired of hearing it.

“Rock ’n’ Roll Damnation” was AC/DC’s first hit in the UK charts and a lot of the credit has to go to Michael Klenfner, best known as the fat guy with the moustache who stops Jake and Elwood backstage in the final reel of The Blues Brothers and offers them a recording contract. He was senior vice-president at Atlantic at the time, and insisted the band go back and record a radio-worthy single after they delivered the first cut of Powerage to New York.

Michael was a real champion of AC/DC behind the scenes at Atlantic, and never got the recognition he was due while he was still alive (he passed away in 2009). He ended up having a falling out with Atlantic president Jerry Greenberg over the choice of producer for Highway to Hell and got fired. But it was Klenfner who arguably did more for the band than anyone else while they were at Atlantic. His story deserves to be known by the fans.

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