In the liner notes, Jake One admits on the first track, "Maybe if I wasn't a terrible rapper I would have done a verse too." This is one of the primary strength of White Van Music, Jake One's debut album. Instead of rapping all over the tracks, the producer stays behind the scenes and allows his work to highlight the talent of those who can rap, which is why his combination of R&B, funk, and synthesizer-dominated sounds attracts such luminaries as Busta Rhymes, Freeway, Prodigy, and MF Doom. The result is a smooth listen that's neither bogged down with inaccessible rhymes nor reminiscent of today's radio-friendly, hook-based raps. It's a standout album, but one that's as non-flashy as the white van on the album's cover.
Jake One's production encourages the emcees to write rhymes matching the moody tone. On "Dead Wrong," Young Buck sends a warning to detractors, while Jake One creates an freakishly ominous sound through partner/producer Malay's bass and guitar, accompanied by haunting background vocals that's sure to send chills to Buck's adversaries. The steady baseline of "Glow," one of the album's gems, is illuminated and brought to life through the accompanying brass horns that perfectly compliment Royce da 5'9's boastful flow: "You are now about to witness the strength, knowledge, and wisdom/ I'm never out of position/ I play my position above the backboard/ More, plaques nigga, this shit's a breeze." Although off-putting at first, the differing moods serves the album well.
Still, Jake One's production is never jaw-droppingly impressive. As a member of the 50 Cent-founded G-Unit production team, citing influences such as Pete Rock, Marly Marl, and DJ Premier, his production is surprisingly level. The beats, as solid as they are, rarely inspire his featured rappers to step up their games. "Gangsta Boy," featuring M.O.P., is reminiscent of the same in-your-face gangster rap style for which they're known, while Young Buck continues to diss 50-Cent and G-Unit ("You know that boy 50-Cent, he dead wrong/ And that nigga Lloyd Banks, he dead wrong/ Can't forget Yayo, he dead wrong". Even Freeway recycles a previously unused verse from his last album on "The Truth." Jake One cannot be faulted for the content of their rhymes, but his production surely fails to challenge them to go beyond their comfort zones.
There are really no glaring missteps on White Van Music -- though, I could do without the curious interlude -- but there are also few musical risks taken that might have garnered this album more attention. On one of the album's interludes, "Jake One" is "interviewed" via splicing together old sound clips from his friend Cool Chris. In the interview, Jake asserts that his laid-back sound is attributed to his "cool, calm, and confident" traits. While this may be true, the laid-back feel of White Van Music ultimately hinders it from being a truly creative and distinct work. It's a "solid" album, to be sure, but you might be tempted to use that word pejoratively.
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