Albums Brownsville KA - The Thief Next To Jesus (Discussion Thread)
- Thread starter IronFist
- Start date
KingsOfKings
♟️ GRANDMASTERS ♟️
Dope.
A stone in a river is not remembered for its erosion but for how it alters the water's path. Over time, it might wear down or be entirely displaced by an unexpected surge. In this manner, we lost Ka, one of hip-hop's most profound lyricists.
Kaseem Ryan's life was as authentic and meandering as the finest narratives. Born in 1972, he first stepped into the rap scene with Natural Elements, an underappreciated New York ensemble, echoing the gritty sounds of Mobb Deep and their contemporaries from the early '90s. Recognizing himself as the group's weakest link, he stepped aside, allowing them a chance at their modest triumphs. Years later, alongside his friend Kev, he resurfaced as part of Nightbreed, taking on the personas of K.A. the Verbal Shogun and Kev as Oddbrawl the Lyrical Juggernaut. They produced one 12" vinyl but went no further.
As decades unfolded, Ka's life was rich and varied. He ascended to captain in the New York City Fire Department, bravely responded during 9/11, and built a family. Compelled by his artistic drive, he returned to music, this time with a voice that was calm and measured, revealing his soul through a series of lyrical masterpieces. His work delved into themes of chess, the Bushido code, and Biblical narratives, consistently reflecting on his challenging childhood, the losses he endured, and the enduring scars. Yet, his delivery remained unfaltering, attracting a devoted, albeit niche, audience from fellow mavericks like Roc Marciano to cultural icons like GZA.
On August 19, 2024, Ka released his final album, The Thief Next to Jesus. Wrapped in gospel samples that shifted from uplifting to eerie, this album invited listeners to decode yet another layer of his artistry. Here, Ka critiqued the rap industry, the manipulation of music and Christianity against the disenfranchised, and the cycle of abuse perpetuated by the oppressed themselves. Despite this, the album glowed with an internal light of hope and salvation, echoing Ka's own fragile yet resilient faith which, against all odds, had endured to begin healing and dreaming of brighter days.
Months later, on October 12, Ka left this world in the company of his loved ones, survived by his wife, mother, and sister. While crafting this tribute, my thoughts were with those mourning this significant loss, particularly during the holiday season. Before delving into The Thief Next to Jesus, I offer my deepest condolences as a listener and admirer of his work. May Ka rest in peace with the kind and just God he so artfully depicted in his music.
Kaseem Ryan's life was as authentic and meandering as the finest narratives. Born in 1972, he first stepped into the rap scene with Natural Elements, an underappreciated New York ensemble, echoing the gritty sounds of Mobb Deep and their contemporaries from the early '90s. Recognizing himself as the group's weakest link, he stepped aside, allowing them a chance at their modest triumphs. Years later, alongside his friend Kev, he resurfaced as part of Nightbreed, taking on the personas of K.A. the Verbal Shogun and Kev as Oddbrawl the Lyrical Juggernaut. They produced one 12" vinyl but went no further.
As decades unfolded, Ka's life was rich and varied. He ascended to captain in the New York City Fire Department, bravely responded during 9/11, and built a family. Compelled by his artistic drive, he returned to music, this time with a voice that was calm and measured, revealing his soul through a series of lyrical masterpieces. His work delved into themes of chess, the Bushido code, and Biblical narratives, consistently reflecting on his challenging childhood, the losses he endured, and the enduring scars. Yet, his delivery remained unfaltering, attracting a devoted, albeit niche, audience from fellow mavericks like Roc Marciano to cultural icons like GZA.
On August 19, 2024, Ka released his final album, The Thief Next to Jesus. Wrapped in gospel samples that shifted from uplifting to eerie, this album invited listeners to decode yet another layer of his artistry. Here, Ka critiqued the rap industry, the manipulation of music and Christianity against the disenfranchised, and the cycle of abuse perpetuated by the oppressed themselves. Despite this, the album glowed with an internal light of hope and salvation, echoing Ka's own fragile yet resilient faith which, against all odds, had endured to begin healing and dreaming of brighter days.
Months later, on October 12, Ka left this world in the company of his loved ones, survived by his wife, mother, and sister. While crafting this tribute, my thoughts were with those mourning this significant loss, particularly during the holiday season. Before delving into The Thief Next to Jesus, I offer my deepest condolences as a listener and admirer of his work. May Ka rest in peace with the kind and just God he so artfully depicted in his music.
At its core, The Thief Next to Jesus serves as a sermon. Throughout the album, spoken samples equate the tracks to Gospel verses, delivered by a pastor steeped in profound wisdom. Ka opens with humility, urging listeners to endure as he voices his concerns about the rap industry's current state. He underlines the enduring nature of music, cautioning with “watch what you feed the kids.” What follows is an immersion into Ka's lyrical universe, one that cuts through the noise:
Lyrics: Ever notice it’s never no fix? Only brung ‘em crackAin’t write gems, but tight with ends, then they run it backNow I peep why they call it heat, it’s just a runnin’ track.
Ka further criticizes the culture for not only lacking progressive solutions but also for eroding listeners' memories, likening it to Alzheimer's with “That’s how a lame floss ‘til the brain loss from the growin’ plaque.”
His critique isn't limited to music; he addresses the sexualization of women, the transactional nature of sex, and questions if these portrayals genuinely empower. His focus is always on future generations, warning artists about their influence:
Lyrics: This a crazy world, don’t put our baby girls on the fast trackThen it’s gun this, gang that, son, the most profane rapIt’s just a lot of bored noise that got our boys layin’ flat.
“Beautiful” exemplifies the magic that happens when independent production meets lyrical mastery. Here, Ka delves into spirituality and humility, envisioning a world where humanity lives beautifully under sound principles. With a haunting refrain, he prays for a long, beautiful life for all, his words completed by a sampled choir, showcasing his service to music with lines like “Free of doubt and tears, leave a thousand years beautiful.”
Ka's aging is another central theme. Although his creative energy remains strong, his body shows signs of wear. On a dark, aspirational gospel backdrop, he shares his "Tested Testimony," relying on his faith and integrity, despite having “no money in my safe, took the safest lane/Once carved in they hearts, can’t erase your name.”
“Borrowed Time” resonates with forewarnings of Ka's mortality, speaking calmly about planning his death before submission, “I plan my death before I plan submission/Can’t exchange man condition but one fan sufficient.” He reflects on his tough upbringing and hopes for an end to these cycles, reminding us of our own borrowed time.
“Collection Plate” starts with a sample pondering the dissonance between faith and material gain, suggesting that true advancement comes from defying societal norms, “If really wanted to bless me, would’ve left me that collection plate.” Here, Ka shines as a social philosopher, simplifying complex ideas.
“Broken Rose Window” tackles Christianity's historical role in oppression, using irony to show how his experiences shaped his skepticism, “Praise the Lord, born wretched/Crazy, long-drawn epic/Made the boy a sworn-skeptic/Phrase is poised on record.” He extends this to systemic issues:
Lyrics: Feel it’s true, they wanna kill a fewAnd keep the rest blindWas tough, so jumped on fire trucksHoping higher-ups bless mine.
At first, “God Undefeated” seems a straightforward faith affirmation. However, it delves into how religion has been used by the victorious, linking this to Ka's own success in hip-hop despite his age:
Lyrics: I came and saw, time to conquerIt’s been proponents of lil’ moments, mines darkerStuck with pledge, cuttin’ edge, lines sharperWas written off, years lost, forced to find marker.
The latter half of the album reaffirms its mission, with Ka returning to the pulpit, emphasizing the message over the music's rhythm, positioning himself as a messenger, “We might be equal, we not the same,” and advocating for unity, “With pens, I’m pensive, don’t pretend I’m pretentious/See we need bridges, we can build defenses.”
“Lord Have Mercy” offers spiritual respite with its beautiful piano sample, where Ka speaks on exhaustion and finding peace, yet acknowledging community struggles:
Lyrics: Fought to exhausted, I can’t appear tiredThe topic wasn’t my optic when I was near sightedFound peace in the beast, now can't sleep if hear quiet.
The music video for “Such Devotion” shows Ka's simple, dedicated process, emphasizing his age and fatigue but also his unwavering commitment. His second verse here is a highlight, reflecting on his roots and the resilience of love.
“Cross You Bear” confronts the white church's complicity in historical atrocities, asserting unity and hope in the face of systemic racism:
Lyrics: Hope the sacrifice match the viceSpeak thoughts sincere to spare the soulI pray every cross you bear is gold.
“Fragile Faith” acknowledges the challenges to faith, critiquing contemporaries for not advancing change, while paying homage to his early influences:
Lyrics: Their sound bring you down, I want you on top of thisIf it ain’t move the needle to inoculate, you just innocuous.
“Hymn and I” explores Ka's relationship with prayer as a coping mechanism rather than a direct line to the divine, reflecting on his life's trajectory and his aspirations:
Lyrics: Then thought I’d met my end violent in the streetChanged lifestyleHow I’m living right now? I’ma die in my sleepWhat I want to earn from this journey is to arrive at my peakAssess more goals for myself, like surviving is weak.
Ka's album concludes with an intense scream, a metaphor for the fight against oppression, “I’m here for you, sweat, bled, and shed a tear for you,” warning of the dire future if exploitation continues, “Stay floored through it, in the crack, I spilt true/It’s about to take, if can’t exploit or subjugate, they kill you.” His focus remains on the future, even as he mentions his own aging, “Might not have been dying from mine, if one equates, would’ve been starch/Hair turning grey, still trying to learn away all the grim parts.”
The album ends with a spoken sample underscoring the real reward - the betterment of the next generation:
Lyrics: We get broadcast on the radio, but this is the rewardWe’re not asking for glory, we’re not asking for publicity and fameBut to see our own boys and girls be able to stay in school and make something goodThat within itself is enough reward.
In his final moments of artistic expression, Ka's faith in humanity's potential overshadows even his faith in divinity, aiming for a world where today’s children can build a just and merciful tomorrow.
Favorite Lyrics:
For me, it ain’t just where I’m at, it’s where I’m from
Grew old, still uphold some things since I was young
Every fellow plan from ghetto stand on how it’s rung
Put moms first, ‘cause Earth can’t live with a dying son.
- “Tested Testimony”
This is mastery, almost at capacity
Take God’s name in vain, don’t blame if they can’t blast for me
Of course, them thugs are who I love and never ask a fee
Must admit it’s some vicious pictures in this tapestry.
- “Borrowed Time”
Is it patience or time wasting?
I’m truthful, all they used to is libation
Dark at the start line, mind racing
Few great moves since the migration.
- “Soul and Spirit”
The load that is on these shoulders is much to bear
From a city with battalions of stallions its always been “fukk the mayor”
As a knave evade a few close shaves, they ain’t touch a hair
Trust I can hush the bluster, only a sucker duck a fair
Had to shed endless before I ascended to this upper tier
I did enough for all of us, hope you never suffer dear
Admit, never cared where you from, it was rougher here
Guess them dirty jeans in early teens gave me another gear.
- “Such Devotion”
Made a pax, all I spoke is dope, but no tracks could harm
While the fools choose illusion, top hat, magic wand
Oppressed, the press only address how the blacks respond
Here the deceivers can’t believe in their Jesus, that’s a blonde.
- “Cross You Bear”
One mistake and son, it’s mate, it’s that drastic
Too many systematic dangers to be aimless and haphazard
The mass came for the fast lane, some sat in traffic
Don’t act hard, then when asked to spar, back to flaccid.
- “Hymn and I”
Lyrics: Ever notice it’s never no fix? Only brung ‘em crackAin’t write gems, but tight with ends, then they run it backNow I peep why they call it heat, it’s just a runnin’ track.
Ka further criticizes the culture for not only lacking progressive solutions but also for eroding listeners' memories, likening it to Alzheimer's with “That’s how a lame floss ‘til the brain loss from the growin’ plaque.”
His critique isn't limited to music; he addresses the sexualization of women, the transactional nature of sex, and questions if these portrayals genuinely empower. His focus is always on future generations, warning artists about their influence:
Lyrics: This a crazy world, don’t put our baby girls on the fast trackThen it’s gun this, gang that, son, the most profane rapIt’s just a lot of bored noise that got our boys layin’ flat.
“Beautiful” exemplifies the magic that happens when independent production meets lyrical mastery. Here, Ka delves into spirituality and humility, envisioning a world where humanity lives beautifully under sound principles. With a haunting refrain, he prays for a long, beautiful life for all, his words completed by a sampled choir, showcasing his service to music with lines like “Free of doubt and tears, leave a thousand years beautiful.”
Ka's aging is another central theme. Although his creative energy remains strong, his body shows signs of wear. On a dark, aspirational gospel backdrop, he shares his "Tested Testimony," relying on his faith and integrity, despite having “no money in my safe, took the safest lane/Once carved in they hearts, can’t erase your name.”
“Borrowed Time” resonates with forewarnings of Ka's mortality, speaking calmly about planning his death before submission, “I plan my death before I plan submission/Can’t exchange man condition but one fan sufficient.” He reflects on his tough upbringing and hopes for an end to these cycles, reminding us of our own borrowed time.
“Collection Plate” starts with a sample pondering the dissonance between faith and material gain, suggesting that true advancement comes from defying societal norms, “If really wanted to bless me, would’ve left me that collection plate.” Here, Ka shines as a social philosopher, simplifying complex ideas.
“Broken Rose Window” tackles Christianity's historical role in oppression, using irony to show how his experiences shaped his skepticism, “Praise the Lord, born wretched/Crazy, long-drawn epic/Made the boy a sworn-skeptic/Phrase is poised on record.” He extends this to systemic issues:
Lyrics: Feel it’s true, they wanna kill a fewAnd keep the rest blindWas tough, so jumped on fire trucksHoping higher-ups bless mine.
At first, “God Undefeated” seems a straightforward faith affirmation. However, it delves into how religion has been used by the victorious, linking this to Ka's own success in hip-hop despite his age:
Lyrics: I came and saw, time to conquerIt’s been proponents of lil’ moments, mines darkerStuck with pledge, cuttin’ edge, lines sharperWas written off, years lost, forced to find marker.
The latter half of the album reaffirms its mission, with Ka returning to the pulpit, emphasizing the message over the music's rhythm, positioning himself as a messenger, “We might be equal, we not the same,” and advocating for unity, “With pens, I’m pensive, don’t pretend I’m pretentious/See we need bridges, we can build defenses.”
“Lord Have Mercy” offers spiritual respite with its beautiful piano sample, where Ka speaks on exhaustion and finding peace, yet acknowledging community struggles:
Lyrics: Fought to exhausted, I can’t appear tiredThe topic wasn’t my optic when I was near sightedFound peace in the beast, now can't sleep if hear quiet.
The music video for “Such Devotion” shows Ka's simple, dedicated process, emphasizing his age and fatigue but also his unwavering commitment. His second verse here is a highlight, reflecting on his roots and the resilience of love.
“Cross You Bear” confronts the white church's complicity in historical atrocities, asserting unity and hope in the face of systemic racism:
Lyrics: Hope the sacrifice match the viceSpeak thoughts sincere to spare the soulI pray every cross you bear is gold.
“Fragile Faith” acknowledges the challenges to faith, critiquing contemporaries for not advancing change, while paying homage to his early influences:
Lyrics: Their sound bring you down, I want you on top of thisIf it ain’t move the needle to inoculate, you just innocuous.
“Hymn and I” explores Ka's relationship with prayer as a coping mechanism rather than a direct line to the divine, reflecting on his life's trajectory and his aspirations:
Lyrics: Then thought I’d met my end violent in the streetChanged lifestyleHow I’m living right now? I’ma die in my sleepWhat I want to earn from this journey is to arrive at my peakAssess more goals for myself, like surviving is weak.
Ka's album concludes with an intense scream, a metaphor for the fight against oppression, “I’m here for you, sweat, bled, and shed a tear for you,” warning of the dire future if exploitation continues, “Stay floored through it, in the crack, I spilt true/It’s about to take, if can’t exploit or subjugate, they kill you.” His focus remains on the future, even as he mentions his own aging, “Might not have been dying from mine, if one equates, would’ve been starch/Hair turning grey, still trying to learn away all the grim parts.”
The album ends with a spoken sample underscoring the real reward - the betterment of the next generation:
Lyrics: We get broadcast on the radio, but this is the rewardWe’re not asking for glory, we’re not asking for publicity and fameBut to see our own boys and girls be able to stay in school and make something goodThat within itself is enough reward.
In his final moments of artistic expression, Ka's faith in humanity's potential overshadows even his faith in divinity, aiming for a world where today’s children can build a just and merciful tomorrow.
Favorite Lyrics:
For me, it ain’t just where I’m at, it’s where I’m from
Grew old, still uphold some things since I was young
Every fellow plan from ghetto stand on how it’s rung
Put moms first, ‘cause Earth can’t live with a dying son.
- “Tested Testimony”
This is mastery, almost at capacity
Take God’s name in vain, don’t blame if they can’t blast for me
Of course, them thugs are who I love and never ask a fee
Must admit it’s some vicious pictures in this tapestry.
- “Borrowed Time”
Is it patience or time wasting?
I’m truthful, all they used to is libation
Dark at the start line, mind racing
Few great moves since the migration.
- “Soul and Spirit”
The load that is on these shoulders is much to bear
From a city with battalions of stallions its always been “fukk the mayor”
As a knave evade a few close shaves, they ain’t touch a hair
Trust I can hush the bluster, only a sucker duck a fair
Had to shed endless before I ascended to this upper tier
I did enough for all of us, hope you never suffer dear
Admit, never cared where you from, it was rougher here
Guess them dirty jeans in early teens gave me another gear.
- “Such Devotion”
Made a pax, all I spoke is dope, but no tracks could harm
While the fools choose illusion, top hat, magic wand
Oppressed, the press only address how the blacks respond
Here the deceivers can’t believe in their Jesus, that’s a blonde.
- “Cross You Bear”
One mistake and son, it’s mate, it’s that drastic
Too many systematic dangers to be aimless and haphazard
The mass came for the fast lane, some sat in traffic
Don’t act hard, then when asked to spar, back to flaccid.
- “Hymn and I”
