No One Can Do It Better
June 16, 1989
Ruthless Records/Atlantic Records/ WMG
1. It’s Funky Enough // 2. Mind Blowin’ // 3. Lend Me an Ear // 4. Comm. Blues (feat. by Michel’le) // 5. Let The Bass Go // 6. Beautiful But Deadly // 7. The D.O.C. and the Doctor // 8. No One Can Do It Better // 9. Whirlwind Pyramid // 10. Comm. 2 (feat. MC Ren) // 11. The Formula // 12. Portrait of a Masterpiece // 13. The Grand Finalé (feat. Ice Cube, MC Ren & Eazy-E)
The story of the D.O.C.’s rapping-career is a tragic one. After his rap group the Fila Fresh crew got to take part in what some consider to be N.W.A’s first album N.W.A and the Posse the world’s most dangerous recording group probably learnt of the man’s existence when they finally got to listen to it themselves after they found out Macola Records released the damn record, which was a collection of some of their singles, with some unrelated songs by random artists thrown in for good measure, without their permission while they were touring.
Fortunately for N.W.A though their “posse album” sold a ton of copies, birthed their career and fortunately for D.O.C. they liked his contributions enough that he could parttake in the recording of the seminal gangsta rap classic Straight Outta Compton, writing rhymes for Dre and Eazy and lending vocals to several tracks, such as on Fuck the Police (it’s Doc on the intro).
Then as a reward for helping Eazy and Dre sound competent behind the mic he got to record his own album No One Can Do It Better, released in the summer of ’89,
In 1989 rhyming about how good you are at rhyming (rhymeception, if you’re into terrible cornball-ass gag-humour) was the thing to do. Everyone from RUN-DMC to the Sugarhill Gang had proclaimed their dominance over the rap game as well as their own superiority over “sucker MC’s” at one time or another, and perhaps rightfully so since RUN and DMC’s nursery rhymes had been cutting edge when the world first heard them. When the D.O.C. proclaimed dominance over the rap game however it was simply a matter of fact beyond a shadow of a doubt. No one could do it better indeed, bar maybe Kool G Rap, Rakim or KRS One.
D.O.C.’s rhymes and delivery were lightyears ahead of even his boys in N.W.A in terms of multi-syllable complexity. Peep this.
Ship it, ship it to the stations
in your jurisdiction
Others say I’m dope
and the others think I’m bitching
No crowd can avoid the D O to the C
When I’m P E R F O R M I N G
D.O.C. – It’s Funky Enough
And besides his lyrics and flow being on point the D.O.C. had enough skill to make it all feel natural and unforced. For all it’s expertly constructed complexity the guy is here for you entertainment first and formost, and even if his vocabulary is larger than average he doesn’t repeatedly and offensively smack the listener in the face with it, like for instance Canibus does whenever he drops one of his fucking albums. Also helping matters is the wall-to-wall pre-chroniced Dr. Dre-production, which brings a distinct funky, dusty scratchy atmosphere for our host to rhyme in. The combination of these beats and these rhymes make the D.O.C. one of the few old school rappers whose music could challenge the works of rappers from the second golden age, such as Nas, Biggie, Jay-Z or the Wu-Tang Clan when it’s enjoyability that’s concerned.
No One Can Do It Better has aged perfectly, with everything sounding vintage rather than outdated.
The best-known song It’s Funky Enough‘s opening line “One, and here comes the two to the three and four” is one of the most re-used in the hip-hop genre. The song’s instrumental is funky aplenty, and the song is hands-down the catchiest thing on here. With no profanity to speak of and and a beat that makes people want to shake their money makers and yet doesn’t compromise the Ruthless Records gangsta rap sound it’s a lesson in making a lead single for a rap album.
D.O.C. and the Doctor is the mandatory ode to the DJ that appears on all early hip-hop album, back when hip-hop albums had one producer per album, rather than five new producers (and twelve guest rappers as well as eight autotuned R&B singers) per individual song. Rather than the corny dickriding that constitutes most such cuts this is a display of actual chemistry between the rapper and the producer.
Mind Blowin’ is another display of the Doc and the Doctor’s combined potential being reached with Dre providing some percussive piano keys for his boy to play around with his words and his flow over to great effect.
Lend Me an Ear is sonically a much faster paced Straight Outta Compton with D.O.C. ripping the beat to shreds and quite succesfully making a case for him being one of the best rappers ever.
The Formula may be the point where Dr. Dre discovered the G-funk sound that would revolutionise the rap world when he put out his solo debut in ’92.
Beautiful But Deadly, the mandatory ode to gold digging evil women, has a Licensed to Ill-era Rick Rubin-esque instrumental, what with it’s hard rock quitars and its distinctly funkless sound. It’s an interesting enough diversion since it sounds like nothing else on here, but it still fits in with the rest since it shares Doc’s golden voice, rhymes and delivery with the rest of the tracks.
The album ends with the Grand Finale, a Ruthless Records posse cut with Doc plus everyone in N.W.A minus Dre going for broke over the most Straight Outta Compton-esque instrumental of the album, and Doc being on par with the world’s most dangerous group.
Every song on here bangs, even the two commercial-themed interludes have their place. No One Can Do It Better leaves one salivating for more. Unfortunately for the world of hip-hop and for Doc himself he would lose his ability to rap soon after this album’s release when his vocal chords were severed after he flew through a windshield in a car crash, leaving him a thin rasp of a voice that was lightyears removed from his pleasant smooth voice displayed on here, relegating Doc to perform on skits on N.W.A’s and later Dr. Dre’s albums, as well as the ghostwriting that had made him the unofficial fifth member of the Comptonite posse in the first place.
Make no mistake, the D.O.C.’s loss of voice was every bit as much of a loss to hip-hop as the murder of the Notorious B.I.G., and No One Can Do It Better is all the proof one needs for it. Unlike Biggie and 2pac however Doc, who didn’t die a martyr’s death (he’s still alive today), wasn’t namedropped as frequently by other rappers, which means that very little of today’s rap music fans actually know who he is. (On the plus side Ruthless Records has withstood the temptation of pairing every shred of D.O.C. vocals with the likes of T.I. and Lil Wayne on frankensongs with krunk beats, released on “Tribute albums”.)
This is all the more reason to revisit No One Can Do It Better, a criminally underrated rap album that has stood the test of time a lot better than most rap albums from the 1980s. An album that gives off an unfulfilled promise of a long and prosperous career in music.
It’s Funky Enough
Beautiful But Deadly
Lend Me an Ear
Portrait of a Masterpiece
The Grand Finalé
Pick this one up, now.