Murs: 3:16

Seemingly delivered through his nose, Murs lays out 3:16 The 9th Edition‘s thesis statement on the album’s title track: “I’m trying to walk that thin line between intelligence and ignorance / have a little fun while making music of significance.” On his second Definitive Jux album, the Living Legend alumnus takes a more focused approach, this time employing only the assistance of one producer, 9th Wonder (of Little Brother fame) and trimming his track list down to a lean 10 songs. While The End of the Beginning was a rightfully acclaimed album, 3:16‘s cognate production, focused writing and flawless delivery make for Murs’ most complete release of his 11-year career. 

Touted for years as the best West Coast underground emcee since Del’s heyday, Murs struggled to earn wide acclaim until his self-promoted 2000 album, Murs Rules the World, began gaining priceless word-of-mouth attention from coast to coast. Upon it’s release, Murs began touring amongst both the Midwest and East Coast underground scene builders. Establishing relationships with both Slug of Atmosphere and El-P of Company Flow, Murs was on his way, eventually signing with Def Jux and releasing his Felt EP with Slug to auspicious sales, despite uncharacteristically poor reviews.

On “And This is For...” Murs explores the racial dynamics of hip-hop with consciously accurate lyrics and very convincing arguments that don’t once stray from reality. On “The Animal” Murs is joined by Little Brother’s Phonte for one of 3:16‘s only mediocre moments. The brief track sees the two emcees attempting to balance out each other’s cadence over 9th Wonder’s sub par, borderline generic boom-bap beat. The mediocre beat on “H-U-S-T-L-E” and pathetic R&B vocal samples on “Freak These Tales” make for 3:16‘s only other missteps. Unfortunately for Murs, 3:16‘s spotty production holds back his consistent vocals and keeps 3:16 from being the classic it could’ve been.

3:16‘s single, “Bad Man,” has the novelty feel of many past hip-hop one-hit wonders and, with the help of video play, could stand a chance to put Murs amongst past fad artists such as Positive K, Skee-Lo, Sir-Mix-a-Lot, and (sadly) The Digital Underground. 9th Wonder’s clean, catchy beat bounces along as Murs sells the idea of becoming his lady friend, with benefits of course. “Bad Man” will, if nothing else, be Murs’ “Mr.Dobalina” moment and likely stick with him through the remainder of his career.

“Trevor An’ Them” flaunts Murs’ precise storytelling skills as he comically blows through an intricate account of bumping into an old friend who is concurrently holding up a gas station. The waggish tale runs seamlessly into the Too $hort-inspired “Freak These Tales” which sees Murs again telling intimate stories of his ventures with women. “Walk Like a Man” balances out 3:16, working as the principal “intelligent” crack on the album as Murs uncomfortably recounts a story of a lost confidant. Split into three concise movements, “Walk” is a haunting account of the murder of an innocent man and the aftermath of the incident.

Tainted by often-lacking beats and obnoxious lyrics, 3:16 still manages to come out victorious due to Murs superior perfect vocal performance. With 3:16 Murs has pushed to the front of his generation of underground emcees and likely laid the groundwork for his next release.  8/10

Written by G. William Locke