3D The Boss Is In Charge On Push It LP
By Deuce
It’s imperative to pay attention when throwing on Push It, the recently released full-length offering from 3d The Boss. If not, chances are you might miss any array of melodies, musicianship, and musical movements the trio thumbs through with a panache that’s all its own.
Rare is the LP that shifts styles, vocal production, and genres with each passing song. Nonetheless, that’s just what the group has managed to do with a virtuoso of a lead singer (formally known as C Lei Boss Lady, the accomplished lead vocalist, keyboardist, writer and producer), a compelling bass player (named Lady Bass, of course, who’s the resident musical director, bass guitarist, and background vocalist), and an uncanny knack for songwriting that does all of the above credit.
The opening number, “Go”, is straight out a page of anything as funky as Prince Rogers Nelson’s ever dropped. Lady Bass comes with it on the bass line with a funky groove you can still smell way after the song’s done. Plus one of the threesome (which also includes visionary, choreographer, writer, and producer Saint Day) is dropping the background synths that damn near give the track a Mobb Deep feel during the verses, as well as a rhythm guitar that works wonders during the hook.
“Do My Dance”, however, takes it back to the ‘20s with its obvious nod to the roots of jazz modernized with an almost EDM type vibe. Sounds like Lady Bass was jamming on an acoustic one this time out, while the piano and horn are so vivacious you can see any array of zoot suites (closer to the middle of the 20th century) working things out on the dance floor during Detroit Red’s heyday.
But on each of these numbers, the aforementioned as well as the others, the Boss Lady is shuffling through styles and voices from a rap cadence without the rhymes to the luscious unveiling of her pleasing vocals at a pitch and volume not easily duplicated. “Sneaky Peeky” rides this formula to perfection and is as worthy of a crossover hit as ever there was, particularly when the bass and the keys shift just before the chorus.
This is real music, with a songwriting ethos and spontaneity that’s hip yet suggestive, and hopefully a harbinger of more to come.
