Marvel
No Streets (Just the World)
© 2007 Mumbles Hip Hop Records (626776812526)
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One of the legends of Toronto Hip Hop and made a classic track with Saukrates on "Hate Runs Deep." The album features K-OS, Arcee, Saukrates, Kardinal Offishall, Mr Attic, Moss and more.
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Consistent innovation in his approach to music composition and the never-dying effort to 'work the angles' on subject matter and concepts through clever yet intelligent wordplay, Marvel has evolved to become one of our nation's forerunners for hip-hop creativity.
Marvel first realized this gift when he became aware of the Canadian rap artist's tendency to 'Americanize' their sound. Witnessed in his first ever appearance on vinyl, the seminal Canadian classic "Hate Runs Deep," Marvel writes and spits with a highly animated and pictorial style, often rhyming about issues that affect the underprivileged on a daily basis. Not surprisingly, the song won him a MuchMusic Award for Best Rap/Hip-Hop Video in 1996. The summer of that year spawned the white-labeled classic, "Wordz of" which garnered international critical acclaim, and the "Make It Happen" tour in June to promote the record.
Marvel continued to develop and challenge himself. Between 1997 and 200, Marvel appeared on every major compilation released from Canada. The first of these was the 1998 release "Beat Factory, vol.2" featuring the banger, "Shituations," and Mastermind's "50 Legal." "Planet Mars," a vinyl compilation released in early 1999, featured Marvel's first production venture with Kardinal Offishall's "Rhyme, Shine, and Buss," the compilation's first and only 12 inch single, and the track "Conversation" featuring himself, Solitair, and Choclair. 1999 also spawned Da Grassroots' classic "Passage Through Time" with the Marvel single "Last Days."
1995-2000 proved to be an exceptional period for Marvel as well as Canadian hip-hop. It was during this time the country's musicians really began to showcase their talents internationally as well as at home. Marvel knew he had to follow-up with the buzz he helped create over the years over compilations features. Rather than appearing on a track as a guest feature, he sought his own path and decided to release his own material. Beginning his own record-releasing outfit, JamDone Entertainment, Marvel released the 12 inch, "Throw This Ball," featuring former Circle members Tara Chase and Solitair. The project also included the track, "Red Light District," which was featured on the CBC series, "Drop The Beat" featuring Michie Mee and was in syndication for 2 years before its termination.
Marvel has shared the stage with hip-hop luminaries such as: OutKast at the Opera House in 1996, Gangstarr at the Guvernment in 1998, Common in 1997, Busta Rhymes in 1997, Lauryn Hill in 1999, The Roots at the Opera House in 1995 and 1996, Wyclef Jean at "Club Industry in 1997, Talib Kweli at the Opera House in 2000, Slum Village at the Comfort Zone in 1999, and De La Soul. He has also toured with the like of k-os, Rascalz, Kardinal Offishall, Saukrates, Thrust, IRS, and Brassmunk in 2001 for Kardinal's "Firestarter Tour" released off his former label,MCA/Universal. Marvel is a seasoned and experienced performer who has a proven track record of solid and highly entertaining shows, touching down from Whistler, B.C., to North Preston, Halifax.
reviews
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Now Magazine
Now Magazine rates this album as one of 5 Canadian albums that should not be slept on. This tragically overlooked Toronto talent's debut LP finally emerges, and it's well worth waiting for. Marvel's jazzy wit dances all over the powerful, innovative production, spilling his heart and mind. Arcee and k-os provide mic support. Essential for your Toronto hiphop legends collection.
Eye Weekly review
Toronto MC Marvel isn’t aiming for the clubs with his debut release as much as aiming for the clouds, throwing his ironclad, serious flow over a selection of dreamy, mellow beats. It’s impressive that he maintains a consistent atmosphere throughout the album, with mid-tempo, pensive songs making up the bulk of the 14 tracks. Although certain songs have been in circulation since the mid-’90s, they don’t take away from the album’s overall fresh sound. The only word of caution would be that the album’s unobtrusive air can slide into a superficially repetitive sound, but Marvel’s MCing skills and the solid production from 12bit, Kardinal Offishall and others make this worth checking out. NICK FLANAGAN
Exclaim Magazine Review
author: ExclaimRakim’s mantra “It ain’t where you’re from, it’s where you’re at” may be an oft-invoked lyric, but the truth is most MCs hold on tightly to their geographical affiliations. Count Toronto MC Marvel as one of the mic controllers aiming to aspire to the spiritual exploration alluded to The R’s legendary words. As an MC who first emerged as a member of 90’s Toronto hip-hop crew The Circle, Marvel’s wordy intricate style was often overlooked, a fact not helped by the very few records he issued at the time. But the fact that Kardinal Offishall, Saukrates and K-OS as well as top notch producers such as Mr. Attic and MoSS have deigned to appear on this album should give you an idea of the high regard in which he is held. Marvel’s strength lies in his powerfully insistent delivery and intensely visual lyricism found on the Saukrates-scored “Skankin’” and the rewind-worthy “No Streets.” While Marvel technical MCing skills and his self-production skills are undeniable it’s also evident, he has an eclectic conceptual bent. Lyrically, he espouses freedom on diasporic, mental and spiritual levels, consciously seeking to cross conventional boundaries. Impressively consistent as his words are, “Palm Wine,” an instrumental fusing traditional Trinidadian steel pans with futuristic synths is a definitive distillation of Marvel’s powerful artistic intent. (Mumbleshiphop)
- author: Rapreviews.com review
According to the album's attached blurb, Canadian hip hop seems to suffer from something akin to an identity crisis – this could be said about many a country around the world. The crux of the matter appears to be the 'Americanisation' of a nation's sound, as opposed to finding their own way – an accusation routinely thrown at UK artists (less so now, however). Marvel, the Toronto-based rapper, has assorted a production team of Canada's finest in order to put together a project that encapsulates the sound of his city streets. And the result is a pretty special musical soundscape... Following a short intro, the album launches into 'No Streets' – and I must admit that it took me an hour to move onto the third track! The Kardinal Offishall-produced banger is the perfect way to kick off proceedings, contrasting overbearing piano-driven melody with understated production – the result is an exceptional cut. Marvel himself delivers well enough, and gives a taste of his talents to come over the rest of the LP. 'Skankin' follows, and the track shifts through the darkness – and halfway through the song, the MC suddenly transforms into an incarnation of 1999-era Slick Rick. It is bizarre, but keeps the listener on their toes – and the Saukrates beat is superb. Darkness follows with the underwhelming 'Time of the Signs', but the funk returns immediately on the brief 'Mission One' – helped by sterling input from guest Arcee. A lush Pete Rock-esque beat produced by Mr Attic laces 'IT', providing one of the most memorable cuts on the album. And clearly Mr Attic is a talented dude, as he transports back to the 1970's effortlessly on the next track, 'Hold On'. My suspicions that the album is a brooding, nocturnal listen were further confirmed a couple of songs later when K-OS guests on 'Follow Me-Flip', providing another standout cut. The LP is wonderfully subdued – and like a vampire would probably evaporate if exposed to daylight. This is purely a night-time joint, perfect to chill or drive to. The final official cut is the random instrumental track 'Palm Wine' – it really shouldn't work, but somehow provides the perfect ending. Three bonus tracks follow – 'Throw This Ball' should really have been thrown out; 'Red Light District' musically fits into the theme of the album flawlessly; and 'Shituations' is solid, but perhaps unnecessary. If I haven't mentioned much about the MC thus far, that reveals my ambivalence towards him – he is pretty tight, with a pretty good flow, and pretty good lyrics. He is neither wack nor exceptional – Marvel is just there. And that's OK – because this album is really more about the music. If Marvel was more or less of an MC, it would disrupt the balance of an excellently put-together musical treat – it seems as if his real talent is putting together this album, constructing an almost flawless ear drum experience. If this is what Canada can produce sonically – without even breaking stride – then people need to look towards T-Dot more often for inspiration.
CLASSIC!
author: anonymousJust took in new Marvel album. Wow...if you miss classic tdot sounds...cop this. I'm telling you. Definetly a bangin album, a few skip thru's if you want to break your neck. Production is classic. Lyrical content and flows are a close to a perfect match. Such a TORONTO feel to this album. Like...Toronto from back way, you all know. 9/10 (The bonus tracks all bang too!)