Happy 10th Anniversary to Step Brothers’ debut album Lord Steppington, originally released January 21, 2014.
I’ve shared my feelings on Alan “The Alchemist” Maman while writing for Albumism before, but I’ll express them again: he’s one of the greatest producers of all-time. Beginning in the late 1990s, he’s been on an incredible run, and has been instrumental in creating many of the best albums of the 2010s and the 2020s (so far), particularly when he produces an entire project for an emcee or group. However, it’s often overlooked that he’s a damn good emcee as well. Both his lyrical and production skills are on full display on Lord Steppington, his team-up with Michael “Evidence” Perretta as Step Brothers, released 10 years ago.
Lord Steppington is as good as any hip-hop album released in 2014. Released through Rhymesayers Entertainment, it’s a project that’s grounded in the principles of true school, but still takes risks, especially in the beat department. The project features some of Alchemist’s most interesting production, as well as some of the strongest lyrical performances by each of the pair.
The Alchemist got his start as a rapper, releasing music as one-half of a different musical duo years before he began to ply his trade behind the boards. While still a teenager and working under the moniker Mudfoot, he was a member of the Whooliganz, partnering with Mad Skillz (a.k.a. Scott Caan, as in the actor and son of James Caan), both of Beverly Hills, CA. The group were first mentored by the likes of QDIII (producer and son of Quincy Jones) and then worked extensively with the Soul Assassins collective, which at the time included Cypress Hill, House of Pain, and Funkdoobiest. They signed a deal with Tommy Boy Records, releasing two pretty good singles, only for the project to be shelved by the label.
Evidence also put together an extremely decorated career as an artist. Born in Venice, Evidence was childhood friends with Alchemist. He was the one who helped connect Alc with QDIII, the latter of whom’s studio was located near Evidence’s home. Evidence is best known as one half of Dilated Peoples, one of the most respected hip-hop duos of the past quarter century, and another of the best producers to emerge in the last quarter century or so. On Lord Steppington, he cedes nearly all production duties to the Alchemist, focusing on delivering finely crafted verses using his patented slow flow.
There will always be the misconception that a lot of “underground” hip-hop is dour and self-serious, but that is not the case with Lord Steppington. There’s a streak of irreverence that runs through the project, inspired by British comedy and fueled by Alchemist and Evidence’s quirky sense of humor. “We just really dug into our British bag,” Alchemist said in an interview with TheRealHip-Hop.com, “Lord Steppington is just a caviar eating, lord of the underground of rap that looks down on the rest of the underground.”
Neither of the Step Brothers take themselves too seriously throughout Lord Steppington. It’s a fun album, and the almost giddy goofiness is baked into nearly every track. They occasionally skewer oft-used “underground hip-hop” tropes and trappings, but they do so with love and respect.
Lord Steppington’s release was actually delayed for about 6 to 8 months, but it wasn’t due to label politics or sample clearance issues. In an interview with Complex, Evidence revealed that the delays were due to manufacturing issues for specialty packaging for physical copies of the album. The group had requested red velvet jewel cases with raised gold letters on the cover, and it took a while to create. The commitment to releasing physical copies with special packaging rarely happens in the 2020s. These days, labels can and do delay the releases of physical copies until months after the project is available through streaming services, and often put little care into the quality of the vinyl and CD packaging.
Listen to the Album:
Evidence and Alchemist deliver beats and lyrics-oriented hip-hop throughout Lord Steppington. This includes the soulful album-opening “More Wins” and the boom-bap, head knick oriented “Step Masters,” Lord Steppington’s first single. “Just Step” is a brief and energetic foray, with both emcees delivering short verses over a complex drum-track and J Dilla-esque siren wails. Evidence promises listeners “Heavenly words, spit codes over chemistry,” while Alchemist raps, “Like the crest vest, and I'm a definition of deaf / Out of sight, dynamite, fake right and go left.”
However, when Alchemist digs into his bag of production tricks, things really get interesting. He became one of the most sought-after beat-makers of the last 15 years for his more unorthodox approach to production. Collaborative projects like Prodigy’s Albert Einstein (2013) and Curren$y’s Covert Coup (2011) were known for Alchemist’s effort to go left of center while still staying on the proverbial tracks. Alchemist’s slightly odd production proclivities are apparent on Lord Steppington with “Dr Kimble,” where he manipulates a gothic organ sample as Evidence channels Dire Straits on the hook. “String Cheese,” one of the album’s bonus tracks, features Alc distorting a jazz rock loop. He adds just enough fuzz to the piano sample to make it shimmer, but not too much so as to make it unlistenable.
The even stranger material makes for an exceptionally entertaining listening experience. “Swimteam Rastas” is a three-movement venture, where both Evidence and Alchemist give detailed (and often abstract) accounts of their rise throughout their respective careers. “Legendary Mesh” is an audacious aural undertaking, as Alchemist backs a warped guitar with more different sleigh-bell samples than I’d ever thought was possible on a single song. Alc also incorporates a vocal sample from the Beats, Rhymes, and Life documentary, turning Questlove’s statement of “Tip is very smooth; Phife is very hype!” into a rhythmic chant. Evidence gives a virtuoso performance on the mic, rapping, “Flow connected, it wasn't me but was arrested / Trying to catch a breath, deadly as asbestos.”
Lord Steppington makes excellent use of guests, utilizing the vast array of artists that were in Alchemist and Evidence’s orbit. The best of these entries are the ones where everyone involved embraces the album’s inherent off-kilter weirdness, such as the chaotic “Banging Sound,” featuring Fashawn. All three emcees rap over chopped bass, strings, and vocal samples from an obscure psych rock track.
On “Mums in the Garage,” the duo enlist Queens, NY’s Action Bronson to assist them with their sonic send-up of 1960s/1970s crime films. Bronson and Evidence’s verses depict snatches of scenes from this incomprehensible heist flick, basking in the ridiculous imagery. Meanwhile, Alc completely blacks out on the mic, vowing to “karate chop the nipple of your chest,” then rapping, “Moron Olympics, toss midgets like a discus / Sweatsuit stitched by Ralph Lifshitz / Spiff lit, instantly I cook like Bisquick / Pump room rocking, I’m a Bad Brain misfit.”
Though the musical bedlam serves Lord Steppington well, the album is also enjoyable when the pair mellow things out, often allowing them to address more contemplative subject matter. “No Hesitation,” featuring Styles P, finds each emcee describing how they seek to seize the initiative in building their respective careers over a mournful string sample. “See the Rich Man Play” takes a slice of 1980s pop rock power ballad cheese and turns into a dream-like listening experience. The pair team with Long Island legend Roc Marciano to create surreal tales of risk and loss.
Alc and Evidence also collaborate with their other rhyme partners both past and present. “Byron G,” the only track on Lord Steppington produced by Evidence, functions as a Whooliganz reunion, as the aforementioned Scott Caan took a break from starring in the successful Hawaii Five-O TV series and picks up the mic again. I must say, for someone who hadn’t appeared on a commercially released record in two decades before Lord Steppington was released, the artist formally known as Mad Skillz sounds pretty spry rhyming over an aggressive electric guitar sample, his verse matching the quality verses from Alc, Ev, and fellow guest Domo Genesis. “Mad illegal C.R.E.A.M, ain't no rules, that's the dream,” Caan raps. “In regal swimming pools, prepping tools for future schemes.”
“Tomorrow” features the talents of both Rakaa Iriscience, the other half of Dilated Peoples, and Blu, another of the strongest emcees to emerge out of Southern California. The track brims with optimism and cheer, as all four emcees describe a day unfolding, each finding inspiration to craft their rhymes. Ohno, the other half of Gangrene (another hip-hop duo Alchemist recorded music with throughout the 2010s), appears on “Draw Something,” a spiritual sequel to “Tomorrow.” Even though Gangrene was known for their grimy and gritty sound, “Draw Something” is one of the album’s smoothest entries, with all three emcees detailing their approach to creating their art. “My paintbrush dance on the canvas without a flaw,” Alchemist flows. “Big wolf, live in a village made out of straw.”
Evidence and Alchemist certainly didn’t stop being irreverent or adventurous with their music in the decade that’s followed, but they haven’t been irreverent or adventurous in the same type of way that they were on Lord Steppington. Normally, this is where I’d opine that it’s a shame that the pair never recorded a second offering as a duo. However, I’ll concede t’s an album that doesn’t really need a follow-up. As the “lords” of underground hip-hop, Evidence and Alchemist said all they needed to say together and continued to make great music through other projects. Lord Steppington works great as an island unto its own.
Listen: