6.Ka,The Thief Next to Jesus
Iron Works
Label: Iron Works
Release date: Aug. 19
Before his death at age 52 in October, Kaseem “Ka” Ryan was the definition of an “if you know, you know” MC. He split time between rapping and his longtime job as a New York City fire captain. He earned a die-hard fan base from his signature sounds: sparse, often drumless production (much of which he did himself) and grim, poetic lyrics rooted in struggle and pain, delivered through densely detailed themes and a smoky, sober delivery.
With his (presumably) final record,
The Thief Next To Jesus, Ka delivered exactly what made his fans love him so much. He uses the album as a vehicle to question and criticize Christianity — specifically its centuries-long hold over the Black community, despite its failure, from his perspective, to deliver anything of substance. The production is minimalist and powerful; he employs the use of organs and gospel samples to coincide with the theme, and songs are introduced and concluded with vocal clips about the shortcomings and hypocrisies of religion. He speaks about religion both through the lens of his own experiences on the street, and in the context of historical racism that has been supported by Christianity. “Fragile Faith” cynically wonders why God would allow such rampant and unending poverty for people who worship Him so much, and “Beautiful” finds him placing internal rhyme schemes in each bar before ending every line with a sampled choir singing the song’s title. But Christianity isn’t the only target of Ka’s ire: Album opener “Bread Wine Body Blood” finds him critiquing hip-hop with just as much fervor, taking “dummy rap” to task for its idolization of money, drugs, and sex. Whether the culprit is God or rap, Ka’s clear-eyed stoicism is clear: No one and nothing is going to save you. —
William E. Ketchum III
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