Opener “All Up On My Nutz” demonstrates either a horrible grasp of English or a wicked sense of humor, as the mellow, yet funky jam revolves around vocal samples of various iterations of “all up on my nut sack” (of which there are surprisingly many takes; google search the term, but it’s probably best to stay away from the images). I have little doubt it’s the latter. Follow-up “Earland Journey” is a blissfully blunted session, and “Everyday Pt. 2” keeps the chilled vibe flowing. And then they kick things up a notch. While it never strays from its playful roots, the album becomes increasingly harder as it progresses. The kick drums on “Henny Lean”, “Raymond’s Lament” or “The Symphony (Jeep Volume)” could soundtrack anyone from N.W.A. to the Wu (well, early Wu, at least). The real strength here, though, lies in both the choice and length of vocal samples.
Whereas a lot of producers today bury the vocals deep in the mix to create the effect of an extra instrument, BFB lets the snippets play out long enough to add the vocal flourish needed to help these creations live and breathe. As a side note, not sure what the copyright laws are in Germany, but they don’t sound as strict as they are here if Retox is any indication. The album closes with the one-two punch of “Two” and “What They Do,” a perfect summation of the album’s strengths–funky as hell, occasionally hard, often silly, always spot on. While it’s way premature to declare the supremacy of the German beat scene today, others better start watching their rear view mirrors because the Betty Ford Boys drink them under the table.
