Sadly, indie hip-hop is a field filled with acts that seem resigned to ape the pompous materialism of their mainstream brethren. Somehow I doubt a guy who is handing out his CD’s on downtown LA streets owns a Bentley. That said, I probably could score some “Yae” from most of them in I were so inclined, so I guess that adds credibility to some of the lyrics. 

The subgenres are more interesting. You run into things like MF Doom, Saul Williams, Immortal Technique, Tech N9ne, Peeping Tom, and Mr. Lif.  These acts, (especially Williams), have something to say and do it well. Subgenre indie hip-hop seems to get what their more “mainstream” counterparts do not, and that is the Roger Corman element. Corman’s films didn’t emulate the bid budget actioners of the studio system. Instead, his films carved out a niche doing things the mainstream studios didn’t. Similarly, as an indie artist, unless you’re the next Pharrell or Timbaland, (in which case, please, stick to producing), you’re beats aren’t going to match Lil’ John’s or Weezy’s.

This is where Rankin’ Scroo’ comes in. The man is talented. His brand of  Gangsta-Reggae-Rap is actually pretty cool. His flow is rhythmic and though his lines occasionally contain a real clunker, (“Girl, we belong together/I got vision all about you, givin’ me ple-asure”) he generally brings his A-game to the table.

Unlike many rappers, Scroo’s lyrics aren’t heavy on wordplay, puns and double entendre. He writes lyrics that are more in line with traditional Bob Marley style reggae. It’s a nice change of pace from “what’s flyer than a G5 airplane?” or whatever else my roommate insists on blasting at 9 in the morning. And too, the lyrics are generally good.

Scroo’s new record, “Solid” displays his lyric talent and ability to bend and contort words into a rhyme. “Dream Dreams,” a track that is basically designed to put one in, the mood, is amusing and head-bob worthy, even if the chorus does come off as a bit misogynistic.

“Run Come,” a reggaeton influenced album opener, is a pretty good track for booty shaking. Scroo’s voice goes into hyper drive, doubled vocals and compressing and extending syllables in a way that rewards repeated close listens. “Hips Like Wha” stretches English in even more interesting and peculiar ways.

The best track, however, is easily, “Segregation,” A lushly produced political rap track that I would happily add to future mix tapes, (yeah, I do make people mix tapes). The catchy chorus makes a solid use of multi-syllable rhymes and does well with the cliché premise of a self described gang-banger making a plea for peace.

Unfortunately, with the exception of this last track and “Hips Like Wha”, none of Scroo’s material would pass muster at a party. The beats are thin and tinny sounding. Everything feels like Scroo is rapping over a karaoke machine version of his beats. It’s distracting and distinctly un-hip, which is a shame because I would rather hear Scroo’s work over the radio than most mainstream rappers.

But, if “Bitches Aint Shit” has taught us anything, it’s that the beat will sell the record.

Rankin’ Scroo is someone to watch. This album is better than his last, he just needs a bigger budget or to focus more on the things he does that mainsteam artists cannot.

“Soild” drops on March 20.