Southern New England (Pawtucket, RI to be exact) houses one of Hip-Hop’s leading lyricists, Chachi Carvalho. Chachi is a true renaissance emcee that embodies the essence of Hip-Hop’s golden era circa 88-94 (as displayed on his MySpace page: myspace.com/bigchach). His lively voice coupled with his brazen lyrics and meticulous flow will enthrall the minds of music lovers across the globe as he drops conscious gems on a variety of topics. His prolific allegoristic compositions are paired with sizzling beats that makes Chachi’s latest contribution a must have for the avid Hip-Hop head.
Tales from the struggle are depicted using an assortment of literary nuggets, metaphors and similes on the Vertygo/J Depina produced “Last Dollar”. Chachi breathes life into his depleted pockets as he personifies the thoughts of his currency by stating: “Staring at the One, George looking like he want to laugh at me/How could he have the audacity/Flip it over, In God We Trust/Why should I trust when I’m down to my last buck/It sucks, I wish I really had a great meal/But the Federal Reserve Note is known to break deals”. Punch lines are set up flawlessly by the prolific lines that precede them as he commandeers the track like Tom Brady in the pocket. The song’s third verse brings the song full circle as Chachi’s daydreams of multiplying his dollar 1,000 fold are shattered by his harsh reality. Sharing the spotlight with Chachi’s tremendous flow is a masterful composition consisting of a few simple sample sequences, razor sharp scratching (provided by Dee Jay Therion) and a sick drum pattern. An infectious snare drum will make heads nod as thunderous kicks ooze the spirit of the Boom-Bap era from woofers. The union between the beat and the emcee is volatile, as the shrapnel from Carvalho’s lyrics detonates the track.
The fallout from the last track’s explosion is just as potent on the Latin/Soul infused “Back 2 It”. He deviates from his previous formula and focuses on displaying his adept mastery of grammatical exploitation. Chachi goes off for a little over two minutes with his one verse, no hook, no break lyrical display. Compelling metaphoric phrases and clever wordplay lambasts the rhythm, allowing the lyricist to dazzle listeners with his verbal complexity. J Depina comes through yet again with another smash that will keep the cold North Atlantic streets hot and the dance floors packed. A sizzling horn/string sampled ensemble is perfectly looped and sequenced impeccably. Accompanying the airtight sample is a series of cymbal crashes that add that extra flavor to this well seasoned composition.
If that wasn’t enough for you, Carvalho drops the proverbial hammer with the conscious, thought provoking head banging track “Freedom Rings”. There are too many eyebrow-raising moments of lyrical splendor to quote them all, but one that stands out is the following line: “They treat me like a king/But yall aint shooting me like Martin Luther/Freedom is a phone call, let it ring!” One can hear the hunger, angst, aggression and passion in his voice, as her growls this line with mounds of emphasis. Other tracks that match this intensity are the highly energized “Ohhz and Ahhz”, “Cape Verdean In America” and the heart felt “Something for You”.
Chachi Carvalho is Hip-Hop resurrected and reincarnated. His dynamic flow, intelligent lyrics, and poignant concepts give this artist depth and relevance that surpasses many established industry emcees. Sonic architects J Depina and Vertygo furnish the blueprints for this hand crafted art-deco style rhythmical structure. Chachi embodies the spirit of Hip-Hop’s forefathers and represents an era that was known for lyrical talent, not record sales.