Release Date:  March 10th, 1992

Recorded:  September – December 1991

Genre:  Heavy Metal, Speed Metal, Hard Rock

Record Label:  Sire / Warner Bros.

Duration:  52:59 (Original), 53:03 (Censored)

Producers:  Ice-T, Ernie C.

Personnel

Track Listing

Singles

Why Body Count is One of My Favorites

I nearly forgot about this album, though something triggered my memory of it a few days ago, and as I listened to it earlier today to refresh my memory, I found that I still knew nearly all the words.  A long time ago, Ice-T had a rock band.  And this wasn’t some pseudo-rock ego-tripping vanity “band:” this was a real hard rock, maybe even truly metal outfit who really tried not to make a rap album.  It may not be perfect, and it may be trying just a little too hard at times, but I give it an A for effort.  Body Count combines a rap heritage with punk spirit, forming a very socially charged record.

Why this album is often categorized under speed metal or even thrash is a little more confusing.  It’s style is much more reminiscent of the glam metal that was popular in the preceding years, with a dark edge harking back to older, more traditional heavy metal acts (think Twisted Sister meets Black Sabbath with a pinch of Slayer).  The riffing may take some stylistic cues from speed and thrash metal (“There Goes the Neighborhood,” “Evil Dick”), but it’s noticeably slower (though not by any means slow).  Rhythmically, Body Count follows the more radio-friendly “hair bands” of the 80’s, with a certain degree of catchiness.  Likewise, a few squealing solos are included which really push the album wholly into the realm of authenticity.

It doesn’t really matter what the music is called.  It’s sufficiently guitar driven, full of accessible beats, and Ice-T’s delivery owes a lot to the hardcore punk acts of the 80’s.  Perhaps most of all, Ernie C.’s flawless guitar work shines the brightest.  “C Note” is essentially one long solo with a mournful tone, where our lead guitarist truly gives the guitar its own voice; it’d be at home on any early Van Halen album.  There’s another fine solo in “Body Count,” just the right length to be engaging and not so long as to get boring.

Most of Body Count is composed of driving, rolling rhythms, making for an easy and enjoyable listen.  It’s easy to get caught up in these grooves, and I prefer the “dancability” that they offer.  Steady riffing provides consistency and musical cohesion and lies at the heart of most tracks.  Overall the music has a “heavy” feel, but it doesn’t alienate or take patience to listen to.  Drums range from serviceable to impressive depending on the track, though there’s an amazing drum solo (how often do we really get to hear those?) in “Body Count.”  I’d also like to touch on the bass for a moment; in so many types of music the bass simply acts to augment the guitar or plod along with the drum beat, but in several tracks from Body Count the bass takes on a life of its own, particularly in “Body Count’s in the House” and “KKK Bitch.”

Ice-T might need a little more practice when it comes to nailing down his “rock voice,” but what I find admirable is his clear effort to steer away from rap.  There are occasional moments where his delivery veers towards the hip-hop inclination, though it’s clear that on most tracks he’s attempting to cover a wide range of styles native to rock music.  In “Body Count,” Ice-T imitates a start-stop approach more at home in hardcore punk, where the lyrics are delivered in shouts and bursts with minimal melody.  Following is a “call and response” chorus where backing vocals chant, “Tell us what to do…” to which Ice emphatically replies, “FUCK YOU!”  The song “Body Count,” from the album Body Count, by the band Body Count, is easily my favorite and the most completely realized track on the album.

Other songs feature different stylings; “The Winner Loses” is a Guns ‘N Roses-esque ballad, while “Voodoo” sees him adopting a more guttural “evil sounding” voice.  “Momma’s Gotta Die Tonight” features more of a spoken word take, and “KKK Bitch” sees a more conventional hard rock tone with clear hip-hop overtones in the verses.  A few of these cuts would probably be a little better with someone besides Ice leading the way, but I do appreciate his willingness and effort to branch out.  None of it is particularly “bad,” I just think it’s evident that needs a bit more practice in some of these styles.

Now besides the expert use of guitars, what really distinguishes Body Count despite its flaws is the lyrical content.  There’s an interesting crossroads here between punk dissatisfaction and socially aware hip-hop that melds with certain heavy metal tropes to create a unique brand of commentary, at times humorous, at others offensive, and often poignant.

Many songs take urban struggles and do a decent job of wrapping them up in a rock package.  “Body Count,” “There Goes the Neighborhood,” “Bowels of the Devil,” “The Winner Loses,” and of course “Cop Killer” all speak to issues of gang violence, prison, police oppression, and drug addiction.  “KKK Bitch” is a humorous (though totally irreverent) take on racism that’s bound to evoke a few laughs, while “Momma’s Gotta Die Tonight” tackles racism metaphorically (and with a sort of gruesome metal twist) whereby a black guy brings home a white girl and proceeds to kill and dismember his mother following her disapproval.  “Voodoo” is an obvious acknowledgement of metal’s Satanic connections, and “Evil Dick” both celebrates and parodies the hyper-masculine nature of “crotch rock.”

Body Count is a quirky piece of work, and while the bulk of it is performed by talented rock musicians, it’s evident that Ice-T is way out of his comfort zone.  But what’s also evident is that this was something he really wanted to do.  There’s a good deal of passion here, and even if Ice’s attempt falls short of perfection, his attempt at branching out feels surprisingly natural and eschews a sort of cheesiness that may be inherent to the idea of “rapper fronts a rock/metal band!”  He put himself in the shoes of a rock musician and managed to add his own personal touch as well.

Written by The Cubist

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