Accepted Eclectic
If scholars scrutinize the brush stroke of a master painter, Aceyalone deserves the same level of appreciation for his wordplay. Ever since he first emerged with theFreestyle Fellowship, Acey has arguably shown himself to be the premier West Coast lyricist, crafting intricate rhyme schemes loaded with brilliant content. He flexes the creativity of a poet with the heart of a braggart, making him a dangerous opponent in any cipher. That's not to say that Acey's perfect--he's had an uneven track record on LPs. ButAccepted Eclecticdoesn't try for the lofty (but ill-executed) concept status ofBook of Human Language, and features more consistent production than his debutAll Balls Don't Bounce. Instead, Acey sticks to the basics: good rhymes, good beats, great songs. He shows unlimited range in topic, from the reflective and philosophical "Never Knew" to the rapid-fire "B-Boy Real McCoy" to a surprising remake of Ed O.G.'sclassic"I Got to Have It (Too)"--he doesn't try to improve on the original (a common mistake among rappers) but instead extends it, even bringing in Ed O.G. to preserve the lineage. Concepts aside, it's still Acey's gift of gab that's the draw. His versatility is unparalleled: his words can tap dance their way across a track, as on "Golden Mic," or dig deep into it with verbal cleats, as on "Five Feet." For veteran Acey fans and the uninitiated alike, "Accepted Eclectic" is a stunning example of how far lyricism can go with its ability to amaze and inspire.--Oliver Wang