Search - Bounty Killer :: Ghetto Dictionary: The Art of War

An open declaration of war

3rdeadly3rd | Brisbane, Queensland Australia | 04/08/2003

(4 out of 5 stars)

"The first instalment in Bounty Killer's "Ghetto Dictionary" series features the ever-controversial DJ in battle mode, as the title suggests. Essentially, the 20 tracks here are Bounty Killer insulting, parodying and generally being verbally nasty toward his enemies. And who are his enemies? Basically every single other DJ. Aside from his well-documented feud with Beenie Man (each accuses the other of stealing his style), Bounty delivers challenges to Buju Banton, Baby Cham, Merciless, Lexxus and many others.Musically, this album is standard dancehall fare. The most popular riddims (beats, for those who don't know the slang) all make appearances either here or on the companion disc "The Mystery". The only variety is provided by the appearance of dancehall quartet TOK on "Man Ah Bad Man The Sequel" - a payback for Bounty Killer's work on their debut.As with much contemporary dancehall, the lyrics are where this album stands or falls. As befits one of the leaders of the style, Bounty Killer is on the top of his game here. Given the subject matter, he has to be. For those unfamiliar with the practice of "sound clashes", think along the lines of the "dis wars" in hip-hop only much faster and more creatively delivered.Bounty Killer's style over much of "The Art Of War" can only be described as borderline insane. He is able to hold a beat with metronomic efficiency, however the most striking moments are when he makes his falsetto exclamations of "that's right" and other slogans. The unpredictable arrival of these moments is simultaneously disconcerting and a joy to listen to.One of the most striking tracks here is "Warlord Nuh Business". This track is nothing more nor less than a shopping list of insults delivered at every single DJ within firing range, led by the line "Mi nuh business". The sheer audacity of this approach will leave the listener - or at least the listener capable of translating the rapid-fire patois - shocked.
The other standout is "Look Good". Beginning with a long spoken-word introduction, Bounty Killer systematically exposes Beenie Man's hypocrisy towards homosexuals, while insinuating that Beenie is homosexual himself. Added into this is a reference to Bounty Killer's own experiences recording with No Doubt (he provides backing vocals and a verse on "Hey Baby"). The creativity of the rhyme scheme here is carried over to the toast itself, more insults directed at Beenie.For the dancehall neophyte, this is probably not the place to start. While it is a great example (arguably the definitive example) of this style of toasting, "Art Of War" and its battle toasts are not the most accessible element of dancehall. Many listeners will also be offended by the rampant homophobia on this album - a common criticism of dancehall as a genre, but particularly in the battle toasts. For the listener who wants the Bounty Killer experience, "The Mystery" is probably a better place to look. For those who are prepared to look past these drawbacks, this recording is highly recommended."