This Right Here

Come Fall 2005, if Buck 65’s eighth solo album, This Right Here is Buck 65, isn’t nominated for either the Mercury or the Shortlist Prize (hopefully both), there will only be four conceivable conclusions: 1.2005 was that good and, thus, Right Here is legitimately omitted; 2.Sage Francis’ new album sweeps every “new/underground” artist award; 3.People don’t actually like The Streets (call it ‘pirated’ hype); or 4.The world still isn’t geared for the precocity of Buck 65, aka Richard Terfry. 

“Genius” is a heavy idiom, often inaccurately used as a tool of unjustified acclaim. In the case of Buck 65’s musical proficiency, “genius” is a fair word to use; more so than ever is it true with his latest, staggering venture, all monetary theories aside.

In previous years, it has always been Buck’s stylized approach, and often theme-based content, that has regulated his incessant harmony. Right Here sees the tide change as Buck brightens nine of his older songs into fully developed genre hybrids. Rather than presenting his new V2 fan-base with a batch of all-new material, Buck has chosen to perfect past compositions into what could (and should) be a landmark recording. Genius. Landmark. Wishful thinking.

In addition to the nine rehashed tracks, Buck offers up four new sonic gems that further augment his artistic conversion away from hip-hop and into uncharted songwriter territory. Buck’s approach is still rooted in hip-hop rhythms; his product, however, has shifted to match his progressing storytelling skills. Rather than relying on his knack for clever lyrics, stylized delivery and sample-based production skills, Buck has moved into a more orphic, sophisticated place where his words are the bottom line.

Without relying on his customary topics (political, sexual, and cultural satire), Buck’s writing has remained both humorous and pertinent by way of his ability to manipulate the open spaces made obtainable through his abstractly narrative approach to writing. Musically, Buck has stopped relying on his routine loops and sampled drum breaks in favor of lush, often live-instrument based sound-scapes. As a whole, Right Here presents a new Buck 65, seemingly without any of his signature conventions in sight.

Gone are the days of balancing two lyrical personas; Right Here sees Buck focusing on the “old man” pose that came to life so vividly throughout the Man Overboard recordings. The Woody Guthrie-penned “Talking Fishing Blues” is a speedy, acoustic folk song that would undeniably seem out of place on other Buck 65 albums; such is not the case here, as much of Right Here embraces both country and rock styles openly. On the album’s sole blunder, Buck remakes his signature song, “(The) Centaur” into a sparse, edited acoustic track. Both songs, taken from 2002’s Square release, are morphed into elaborate, alternative tales of outcast lifestyles, while “Pants on Fire,” from his 2001 masterpiece Man Overboard, incorporates a subtle yet elaborate backdrop to Buck’s Mom period.

In retrospect, Talkin’ Honkey Blues, from 2003, was a vital stride away from the unfocused output of old and a giant step toward the precision of Right Here. Thus Honkey‘s four tracks are left alone with the exception of the pinnacle point on both releases, “463.” The remaining new songs - “Bandits,” “Out of Focus” and “Untitled (Bonus Track)” - continue Buck’s ventures into new ground, most significantly, the highly ambient “Out of Focus,” which could very likely stand as a prototype for future works.

The previously mentioned awards don’t really matter. Shortlist winners still don’t sell and Mercury Prize honorees have never been deserving of such distinct acclaim. Where Sonic Youth and Pavement should’ve been the face of early alternative music, Kurt Cobain’s pretty mug reigned supreme. Sadly, Buck’s ominous fate will likely be determined by timing and label support, but who knows, maybe he really will be stinkin’ rich someday.

This Right Here is Buck 65 is essentially mongrel music for a hybrid generation. Subterraneous trends eventually surface and inevitably become defiled mainstream fads. Whether or not Buck’s coming-out party blows open a new realm for pop culture isn’t necessarily the point; the fact that unique content of this caliber having existence represents hope for future sounds. It’s all very genius, and wishful. Mom65 would be proud of her little skydiver.    10/10

Written by G. William Locke